SCREAM: WOODSBORO HIGH: Season 3
by Billy Bob D
Summary: The final season is "sick, sexy and crazy" as things begin to heat up in it's most action packed, funniest and dramatic episodes ever. Deconstructing the killer s  from Scream 4, season 3 is a no-holds-barred and shocking ride until it's conclusion!
1. Episode 01: I'm a Creep: Part 1

[Hello new reader to season 3! The show is currently at it's series finale point and needs 310 reviews for the final episode of the series to start up. If you could be kind, please write a review on this episode and any of the following episodes to help boost the number up. THANK YOU.]

Ladies and gents, welcome back to WOODSBORO HIGH for it's THIRD and FINAL season. No introductions this time around, we're gonna jump right into business. Do not forget to add this story to your story alerts, your favorites and me as a favorite author as well as author alerts!

_301 - I'm a Creep (Part 1)_

**PREVIOUSLY ON WOODSBORO HIGH:**  
>- Roy was offerred a job at a radio station.<br>- Robbie came clean to Niley about his one night stand with Solai...  
>- But also another secret came out.<br>ROBBIE: I'm gay.  
>(Quick shot of Charlie overhearing outside the door)<br>- Mr. Leeds came home to find a surprise.  
>(Ghostface unveils theirself - Chelsea)<br>- And had to take care of a mess, resulting in Chelsea's death.  
>MR. LEEDS: I'm sorry.<br>(He pulls the trigger underneath Chelsea's chin)  
>- Jill left the prom early to visit Patrick.<br>- Only for him to reveal an obsession...  
>PATRICK: I used to live in Billy Loomis' house.<br>- That lead to grave matters.  
>(Jill wakes up in the body bag)<br>- Which resulted in revenge.  
>(Jill STABS Patrick in the chest.)<br>- And only one person to go to for an alibi.  
>JILL: (to Niley) You owe me.<p>

SMASH TO BLACK.

1.  
>FADE IN:<br>INT. KIRBY'S BATHROOM - NIGHT  
>TITLE CARD: April 2011<br>Jill looks into a mirror... cold... distant... she breathes heavy. She's wearing all black, almost like a robe. A bit of flannel-plaid sticks out from the top near her neck that's tucked in underneath. Her eyes shift, thoughts racing within her mind.

She's been leading to this moment for awhile... she's been planning this for months. She knows she can't fail... there's so much on the line... she looks down into her hands - BELOW FRAME WHERE WE CAN'T SEE - she places a webcam like device into a black mass in her other hand, setting it precisely. She looks back up in the mirror... she takes one last breath.

JILL: It's showtime.

She places the black mass on top of her head - there's white on the front also - stretching it over her face - IT'S A GHOSTFACE MASK. Ghostface (Jill) stares in the mirror a moment longer... screams come from outside the door. She lifts a knife into her eye view... testing it's sharpness with her finger... she turns her head to the door, holding the knife to her chest... ready to strike. She opens the door... and EXITS.

SMASH TO BLACK -

**MAIN TITLES:**  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

2.  
>FADE IN:<br>INT. ROBERTS RESIDENCE - MORNING  
>TITLE CARD: June 2010<p>

Kate sits at the table... a cigarette to her lips and her knees bouncing. She has a phone next to her... she's stressed beyond belief. The front door opens and she springs up. Jill enters, her head down and trying to avoid contact with her mother.

KATE: Oh, my God! Where have you been?  
>JILL: Niley's.<br>KATE: What? Jill, you were declared missing hours ago! They heard your voice over Chelsea's phone -  
>JILL: I lost my phone. Apparently she had it. I heard all about it though. And I'm fine.<p>

Jill goes up the stairs. Kate wants nothing more than to talk to her daughter - but she resists, giving her space. Nah, fuck it. She charges up the stairs, heading to Jill's room. The door's closed already and Jill is inside.

KATE: You need to tell me when you're going to deviate from a plan! You were supposed to be at prom all night!  
>JILL: Whatever.<br>KATE: (beat) I'm taking away your car.

Jill opens the door, furious.

JILL: You're what? !  
>KATE: You want to disobey the rules, I have to take proper action.<br>JILL: How am I suppose to get around?  
>KATE: You can get a ride.<br>JILL: From who, Kirby? She just wrecked her car a few months ago!  
>KATE: I have no other choice, Jill. The payments on it are getting to be too much anyway. Your father's no longer alive so we have no need for it.<br>JILL: He's been dead for months. You mean you have no need to create the illusion that he's alive anymore by paying off his car.

Jill slams the door. Kate inhales her cig - she nods to herself thinking she's made the right choice.

INT. TREVOR'S ROOM - MORNING  
>Jenny puts on her bra, looking for her gown. Trevor lays in bed, watching her like it's a funny game show.<p>

JENNY: Help me find my gown!  
>TREVOR: You're like a chicken with her head cut off.<br>JENNY: I am gonna be in so much shit when my mom realizes I'm not home. And what are you gonna do when Jill calls you any second, huh?  
>TREVOR: I don't care what she thinks anymore.<br>JENNY: Oh yeah, why not?  
>TREVOR: Because I love you.<p>

Jenny stops in her tracks. She turns around. He sits up a bit more.

JENNY: You what?  
>TREVOR: I love you.<br>JENNY: You're with Jill.  
>TREVOR: A mistake I need to fix.<br>JENNY: What do you mean?  
>TREVOR: I wanna be with you, Jenny.<br>JENNY: Jill used to be my friend, that's not gonna -  
>TREVOR: Keywords here, USED TO. Am I right? Who is she to say we can't be together?<br>JENNY: You wanna be with me?  
>TREVOR: Especially after how amazing last night was...<p>

Jenny smiles, blushing. She unhooks her bra slowly, teasing Trevor and throws it to the ground, running back to the bed and getting in the blanket with Trevor. They kiss as she saddles on top of him.

INT. SHERIFF'S OFFICE - MORNING  
>Mr. Leeds sits in the hot seat, Dewey in front of him with a notepad.<p>

DEWEY: I know this isn't easy but Chelsea's mother is here. She wants to hear the whole story, from you, since you were there.  
>MR. LEEDS: There's nothing much to say other than -<br>DEWEY: I know, but... for closure, for her sake.  
>MR. LEEDS: Sure, bring her in.<p>

Dewey nods and walks to the door, opening it. In comes Chelsea's Mother, a blubbering mess. She sits down in front of Mr. Leeds. He's apprehensive about speaking too soon.

CHELSEA'S MOM: I - just wanna know. I wanna hear it from you. You were there in her last moments. Chelsea's always been troubled - especially when it came to men. I'm sure you know about what happened with her old friend.  
>MR. LEEDS: No, I don't.<br>CHELSEA'S MOM: Same thing that happened to you. She drugged him, had sex with him and - that's how she became pregnant in the first place.  
>MR. LEEDS: Oh, I had no idea that was the situation. She never implied that.<br>CHELSEA'S MOM: It's not her fault... her father and I were an explosive couple. She had to have learned it somewhere, right?  
>MR. LEEDS: Don't blame yourself.<br>CHELSEA'S MOM: Could you just - ?  
>MR. LEEDS: Oh... sure. Okay, um... I came home after my chaperone duties were finished at the prom. When I entered, I saw blood and glass on the floor, trailing to the basement. I entered the basement and found Chelsea standing over Katherine Maleficent's body. She uh, she stabbed her multiple times. In that moment, she then threatened me to help her get rid of the body and if I didn't, she would kill me too. She... wanted to run away with me. I had no other choice but to... lead her on and say that I would, in effort to hopefully think of a strategy out.<p>

She begins to cry, shivering from the thought of it all.

MR. LEEDS: So we went to a place of her choosing. She said the Penciatti Hotel because - that's where everything went wrong, she said. She didn't make it very clear.  
>CHELSEA'S MOM: That's where he died. Prichard. The father of her baby.<br>MR. LEEDS: Oh... then it makes sense than... a bit more. (beat) Anyway, she started to bury Katherine's body and... I realized that no matter what, I was gonna be stuck in this situation. And that I would rather just... run for it, chance it, if I had to. As I started to leave... that's when she put the gun to her - to her, um... under her chin. She threatened to shoot herself if I left. So I stayed, momentarily, tried to tell her - that we couldn't do this. That it was wrong. She then started to... say things like... she felt guilty. Not just over Katherine but over other things... she said something about people thinking she was a baby killer and that really got in her head. And she said that the place was where she belonged. With the one she truly loved. I didn't know what she meant by "the one" but... now that you say that's where Prichard died... well, she asked one more time for me to stay... I told her no... and she shot herself, without warning. Just like that.

Her head goes down, a long sigh that results in a cry that comes out of her.

CHELSEA'S MOM: My baby is gone.

Mr. Leeds puts his hand across the table, going to comfort her. She stands up abruptly and heads for the door.

CHELSEA'S MOM: Thank you. Goodbye.

She exits. Mr. Leeds sits back in his chair... going over the story in his head...

3.  
>SMASH TO:<br>INT. WOODSBORO HIGH - QUAD - LUNCH TIME - DAYS LATER  
>Kids wander around campus, all gossiping to each other over what happened during the weekend. In the midst of it all is Jill. She feels uncomfortable among these people - as if they know her secret. She enters the cafeteria lunch line.<p>

INT. CAFETERIA - CONT'D  
>She picks up her food and places it on a tray. She looks up - Roy's hand grabs hers, accidentally as they both reach for the last String Cheese.<p>

ROY: Oh, sorry Jill, you can have it.  
>JILL: Oh, no... you. I'm on a new diet anyway.<br>ROY: Oh. So how was prom? I miss out on anything?  
>JILL: I wouldn't know, I left early. Cory and Trevor started fighting and - have you seen Trevor?<br>ROY: Nope. (sighs) I don't see much of anybody anymore. Tess consumes all my time.  
>JILL: Well let it be known you need friend time still.<br>ROY: I try and it never works out too well.

They reach the cashier. Roy pays and waits for Jill outside. Jill puts her trey up, the cashier ringing up her items.

CASHIER: $6.66  
>JILL: (did I hear that right?) Uh, how much?<br>CASHIER: $3.33.  
>JILL: (beat) Oh. (handing it over) Here.<p>

INT. QUAD - CONT'D  
>Jill exits quickly, Roy following her out towards the fountain.<p>

ROY: So I got a radio gig offer. I was wondering if you think I should take it.  
>JILL: Why wouldn't you?<br>ROY: Seems like a lot of work.  
>JILL: Roy, do it. Maybe you can - interview me when I get famous.<br>ROY: Oh right, ofcourse. Not for me, for you. I get it.  
>JILL: I'm just saying, this will be great exposure. Gain a fan base.<br>ROY: Thanks. Sometimes you say exactly what I need to hear.

Roy walks off, seperating from her as she just reaches the fountain. Olivia, Kirby, Robbie & Charlie are already there.

JILL: Where is everybody? We're missing a few of our gang.  
>OLIVIA: Oh, stop pretending like you care, Jill. We all know you only need me.<br>JILL: How could I forget.  
>KIRBY: Well Roy's with Tess, I think I saw Niley a minute ago and your boy toy has been MIA all day.<br>JILL: That fucker, nobody's seen him.  
>OLIVIA: Nor Jenny. (beat - they all look at her) Just saying.<br>JILL: You're gonna make me paranoid, stop it.  
>OLIVIA: You could interrogate her carnie friend.<br>JILL: Why is she a carnie - Olivia, you're so mean.  
>OLIVIA: You spat in her face and I can't call her a word?<br>KIRBY: You spit in someone's face? Who we talking about again?  
>JILL: Yeah, it was - I was kinda overreacting. It was the heat of the moment -<br>OLIVIA: Oh no, that shit was super funny. Marnie the Carnie was trying to be all tough and then hock-too! Spat in that bitch's face, she was all shocked.  
>KIRBY: That's not very Jill-like.<br>OLIVIA: Jill's turned over a new leaf, you haven't been around to see.  
>KIRBY: Oh, thanks for making me feel bad.<br>JILL: I'm still the same Jill!  
>OLIVIA: (turns to Robbie and Charlie) Hey faggots!<p>

Robbie sits up and looks at Olivia, wide eyed and a "don't you dare say anything" face. Olivia giggles.

OLIVIA: Quit being so quiet, talk to us.  
>KIRBY: Olivia! They're going through stuff.<br>OLIVIA: Psh, we all are.  
>KIRBY: I'm sorry Charlie, I miss Stephie too. You gonna be okay?<br>CHARLIE: I'll be fine.

Jill feels bad. She didn't even get to say goodbye.

KIRBY: And what about you, dumb fuck?  
>ROBBIE: We're gonna start with that now?<br>KIRBY: You cheated on Niley, the name is warranted.  
>ROBBIE: It was an accident.<p>

Olivia sits quiet.

JILL: Niley was devastated when I saw her the morning after, Robbie.  
>ROBBIE: I feel bad as it is, please don't!<br>KIRBY: Now that I think about it... she's gonna be uncomfortable being here.  
>ROBBIE: Well what do you want me to do, leave?<br>KIRBY: ... yeah!  
>OLIVIA: Hey, Robbie made a mistake. If Niley wants to be an adult over HIS mistake, she won't just abandon all of us for it. Speak of the woman.<p>

Niley walks over... she seems determined...

NILEY: Hi.

She stays standing.

OLIVIA: Sit down, love.  
>NILEY: No, I'll be quick.<br>KIRBY: Something wrong?  
>NILEY: With some of you...<br>JILL: Excuse me?  
>NILEY: You were all there when he - (points to Robbie) fucked that skank.<br>KIRBY: (puts hand up) I wasn't present for that one.  
>OLIVIA: Yeah, neither was I.<br>NILEY: Well the rest of you... you were there. And you didn't tell me.  
>JILL: So... you're talking to just Charlie and I exclusively?<br>NILEY: I suppose so...  
>JILL: Niley, this was Robbie's mistake, it's not our place to tell you.<br>NILEY: It happened nearly 2 months ago, you could've and you should've said something.

Jill flashes an "I'm gonna kill you" look to Robbie. Robbie shrugs, he knows he fucked up.

JILL: We told him to tell you -  
>NILEY: But he didn't... which left you two.<br>JILL: Roy was there too. Just saying.  
>NILEY: He said he didn't know.<br>ROBBIE: Well I guess that's possible, he wasn't in the room -  
>NILEY: Shut the fuck up, Robbie! I've made my alliances... I can't trust any of you.<br>JILL: Niley!  
>NILEY: I'm sorry.<br>OLIVIA: Okay, Robbie, get the fuck out of here so Niley can feel comfortable.  
>ROBBIE: And go where? !<br>NILEY: This isn't about Robbie, aren't you listening? This is about all of you! You knew how paranoid and scared I was about something happening... letting it happen, okay, you're off the hook for that. But knowing about it and not saying anything to me? That hurts... almost as much as him doing it.  
>KIRBY: Quick question, I'm exempt from this hatred, correct?<br>OLIVIA: And I was with you the entire time, so -  
>NILEY: (shrugs) I don't HATE anybody, I just feel - betrayed.<br>JILL: Niley, believe me when I say that was never our intention!  
>NILEY: Intention or not... it's what you do that counts. And you all showed me who really are.<br>OLIVIA: You all, excluding Olivia.  
>KIRBY: And Kirby.<br>NILEY: No, you guys too.  
>KIRBY: But we didn't do anything.<br>OLIVIA: I was with you that night!  
>NILEY: But you're not exactly taking my side in this!<br>KIRBY: Your side?  
>NILEY: You shouldn't hang out with Robbie anymore but you are!<br>OLIVIA: That's childish, Niley.  
>NILEY: And when have you ever known for me to be a grown up? !<p>

A tear falls from Niley's eye... she walks away. Jill sits there, paralyzed. She jumps up.

JILL: Niley, please.  
>NILEY: You were there! And you knew and you didn't SAY ANYTHING! You're just as bad as he is... all of you!<p>

Niley walks off again, leaving Jill behind. Kirby makes light of the situation.

KIRBY: Except for me, you all heard that right?  
>JILL: (sitting back down) Shut up, Kirby.<p>

Robbie is ashamed, his head down. Olivia knows the real reason why - she can't say anything. And in his own way... so does Charlie.

JILL: Niley's no longer our friend, thanks Robbie.  
>ROBBIE: What do you want me to say?<br>OLIVIA: You heard what she said. Robbie is our friend, too. Niley made a choice. She'd rather leave us behind instead of work things out. Robbie was willing to sit here and try and work things out. Niley didn't. That's the end of that.

4.  
>CUT TO:<br>INT. LEEDS LIVING ROOM - DAY  
>Mr. Leeds enters his house and throws his keys onto the table next to the door. It's been a long day - the exhaustion has been overwhelming. He sets his suitcase down on the kitchen counter and opens the fridge. He stops for a moment and looks over tot he basement door... he shivers and exits without coming in what he came for.<p>

He sits down at the couch and turns on the TV... he skips through the channels but his mind can't focus - thoughts splice through at a rapid pace almost as fast as the channels changing. He puts the remote down and just watches whatever channel he landed on.

CHELSEA: I hate this fucking show.

He turns his head - CHELSEA SITS NEXT TO HIM ON THE COUCH. He jumps out of his skin, off the couch and onto the floor. He crawls backwards, completely terrified.

MR. LEEDS: How did you get in here? !  
>CHELSEA: Relax, Mr. Leeds. Come sit.<br>MR. LEEDS: You're dead...  
>CHELSEA: THANKS TO YOU.<br>MR. LEEDS: ... I'm calling the police.  
>CHELSEA: They'll just think you're crazy. I mean, you are but - you don't wanna go to jail, do you?<p>

He can barely speak... this is beyond words for him.

MR. LEEDS: How did you do it? How are you alive? I saw them put you away in a bag!  
>CHELSEA: Oh, I'm very much dead. (lifts her head to show a bloody hole in her chin) You did that, remember? Or, wait... according to you... I did that to myself.<br>MR. LEEDS: What the fuck is going on?  
>CHELSEA: Don't you worry about a thing... we'll take good care of each other...<p>

A sinister smile forms on her face...

CUT TO:  
>INT. CHARLIE'S DINING ROOM - NIGHT<br>Charlie sits at the middle of the table... his parents on both ends... they eat while he sits there... unable to take a bite. His mother looks up...

CHARLIE'S MOM: Charlie, you have to eat something.  
>CHARLIE: I'm sorry, I just can't.<p>

Charlie backs out from the table and quickly exits the room. His parents look at each other -

CHARLIE'S MOM: You should talk to him.  
>CHARLIE'S DAD: He'll get over it... it just takes awhile...<p>

He goes back to his meal... she nods and agrees and continues to eat her own.

INT. CHARLIE'S BATHROM - CONT'D  
>Charlie enters the bathroom and leans onto the counter - he tries to take control of his breathing - something squeezes inside his chest. He falls forward, unable to take the pain any longer. The entire room begins to SHAKE - the mirror, the shower curtain, toilet - everything. He rises and opens the medicine cabinet admist of everything violently moving around him.<p>

He pops open his pills and takes two, swallowing them whole. The room continues to break apart in front of him - he falls to his knees and his vision BLURS. His breathing slows... the room slows down... he gets up from the floor and looks back at the mirror - it's still. The room is no longer a mess - everything is back to where it belongs in perfect order.

INT. JILL'S ROOM - NIGHT  
>Jill sits on her bed, slowly rocking back and forth... she picks up her cell phone and dials Trevor's number. Straight to voicemail.<p>

JILL: Fuck this.

She grabs the keys off her dresser.

EXT. JILL'S DRIVE WAY - CONT'D  
>Jill enters her father's car and turns it on, speeding backwards out of the drive way and into the street. A CAR NEARLY HITS HER as they go around - Jill doesn't even flinch. She speeds down the street.<p>

EXT. TREVOR'S HOUSE - CONT'D  
>Jill parks outside and exits the car, charging towards the door. She knocks fiercely - no answer. She begins knocking again - the door swings open. Trevor softly pushes Jill back and closes the door behind him.<p>

TREVOR: What are you doing?  
>JILL: Why haven't you been answering your phone?<br>TREVOR: (beat) I lost it.  
>JILL: You lost it? So why didn't you come to school?<br>TREVOR: ... personal day?  
>JILL: And when were you gonna notify me?<br>TREVOR: I'm sorry, Jill, I didn't think I had to report to whenever I felt like staying home.  
>JILL: ... I was worried about you.<br>TREVOR: From the sound of the knock, sounds more like you were suspicious of me.  
>JILL: Do I have any reason to be?<br>TREVOR: Ofcourse not.  
>JILL: Then why did you mention it? I could've been - a number of emotions towards you while knocking on your door, why was "suspicious" the first to pop into your head?<br>TREVOR: (smile) Get the fuck outta - you're fucking with me right?  
>JILL: (inches in, in complete seriousness) I don't fuck around.<br>TREVOR: I'll be at school tomorrow. Okay?

Jill examines his face as if she could detect a lie or anything fishy.

JILL: Okay. I'm sorry I was acting like that, I was just - I was psycho.  
>TREVOR: (smiles) You love me, I get it.<br>JILL: Do you love me?  
>TREVOR: (beat) Yeah.<br>JILL: Say it.  
>TREVOR: (beat) I love you.<p>

Jill stands on her tippy toes to kiss him on the lips. She smiles while stroking his cheek and walks back to her car. Trevor seems confused...

TREVOR: I'll see you in the morning, right?

She waves and gets in the car. He gets back into the house.

5.  
>CUT TO:<br>EXT. CHARLIE'S HOUSE - NIGHT  
>Charlie exits the house and looks in front of him - Jill's car is parked by the curb. He slowly walks to her car and enters into the passenger seat.<p>

CHARLIE: You okay?  
>JILL: (beat) You're the only one I know that - stays up this late. I needed someone to talk to.<br>CHARLIE: About what?  
>JILL: Trevor's cheating on me.<br>CHARLIE: What?  
>JILL: I don't know with who or what but he is.<br>CHARLIE: Are you sure?  
>JILL: I tasted a flavor of lipgloss on his lips that didn't belong to me and it certainly wasn't chapstick he was using. It was a girl's.<br>CHARLIE: There could be - a thousand explanations to that, Jill.  
>JILL: Don't cover for him, Charlie. I think we both know it's true...<br>CHARLIE: Did you tell him anything?  
>JILL: I don't want to say anything yet. Not until I figure out who it is or until I catch him...<br>CHARLIE: Suspicion can ruin a relationship, Jill... believe me.  
>JILL: I just don't know what I did wrong, ya know? I thought I found the guy, I thought that he was the one - it just all seemed to make sense and now I don't know. Maybe it's just me, maybe I'm too overbearing.<br>CHARLIE: It's not you.  
>JILL: Charlie, c'mon. Haven't you seen the way I handle you guys? It's a wonder why you still have me around. I boss you guys up and down and it's ridiculous, I don't know where I get off doing that. Maybe it's some unknown desire to be in control since my whole life, I never truly have been. (beat) I can't control my parents. I can't control what family I was born into. I can't control my relationships or my friendships - as much as I try to. I lose everything because I want it to be something else so badly that whatever I focus on it being or plan on it being, it just deviates. I don't know why I try. I don't know why I tried with my mom to fix things with my dad. I don't know why I tried to play buddies with my cousin who clearly has an entire life of her own to even give two shits about me or pretend I exist. I don't know why I tried with Robbie to tell Niley the truth and I don't know why I tried to handle Patrick on my own or Cory after he jumped off that bridge. And I don't know why I'm trying so hard with Trevor to like me when clearly he has a thing for someone else whether it be Jenny or - fuck, whoever. From now on, I just need to let things be. If he wants her then fuck it, let him have her. I won't try to control it. If I find out then I find out. If not, maybe we'll just fall apart naturally. I can't keep trying to control every little aspect because the universe has it out for me man, I'm telling you.<br>CHARLIE: That's no way to think, Jill. It's your life, it's only natural to want to be in charge of it's destiny. It's like Final Destination, ya know? Fate works out the way it's going to work out. I mean, whether they tried to change it or whether they just let it happen - fate always won. Until, well... they postponed fate. It eventually caught back up with them, ya know but... they won, momentarily at least. You can win momentarily. You can seize the moment - whenever that may be.  
>JILL: Seize the moment...<br>CHARLIE: Take advantage of opportunity. Find a way to make a change that you feel you need. A permanent change.  
>JILL: A good permanent change would be if my mother was no longer around...<br>CHARLIE: Jill...  
>JILL: I'm serious. Ya have any idea how many problems that would fix for me? Not nearly half of them but still... it'd be a good 35% less of bullshit to deal with. That's a 35% I could use right now.<br>CHARLIE: But you would never do that...

She doesn't respond.

CHARLIE: Would you?  
>JILL: (beat) You ever wonder what it would be like to just... kill someone?<br>CHARLIE:... no.  
>JILL: But do you think you could do it? Do ya think you have it in you?<br>CHARLIE: Are we talking like... with a gun or -?  
>JILL: Cold blooded, pre-meditated murder... with a knife.<br>CHARLIE: (laughs) No.  
>JILL: I think I could.<p>

His laughter quickly fades off.

JILL: You don't have it in you? Not even to protect someone?  
>CHARLIE: Well that's different.<br>JILL: Is it? What's the difference between killing someone for your own personal gain and protecting a loved one? In the end, the knife penetrates the skin and their heart stops. And in the end, your doing it for your own personal reasons. Call it "self defense of your own free will."  
>CHARLIE: But that's what crazy people do - or think. That's why they're crazy.<br>JILL: Who the fuck decided what's crazy and what isn't? Maybe to me, crazy is killing someone because they're going to kill you or someone you know. My personal belief against someone elses, what's the difference? An education? Seniority?  
>CHARLIE: Then people would just be running around killing each other because they know the person wouldn't fight back.<br>JILL: People don't run around killing each other because they think they'll get caught.  
>CHARLIE: I'm gonna go inside now, Jill.<br>JILL: I have a gun to Stephie's head, you have a knife in your hand. What do you do?  
>CHARLIE: I'm not gonna play this with you.<br>JILL: I squeeze the trigger a bit harder and tears stroll down her cheeks. I'm an open target. What do you do?  
>CHARLIE: Jill.<br>JILL: She begins to cry out your name, screaming "help me!" The gun is at closs point range, there's no question, she would DIE. WHAT DO YOU DO?  
>CHARLIE: Stop it.<br>JILL: She begs me to stop but I tell her it's useless. I pull the trigger, the round explodes and the bullet lodges into her brain and out the other side of her skull against the wall. WHAT DO YOU DO?  
>CHARLIE: I'D CHOP YOUR FUCKING HEAD OFF!<p>

Jill's surprised - a bit thrown back but liking this new side of Charlie. He combs back his hair, realizing he just nearly exploded. He quickly exits the car and runs back inside to his house. She watches him go enter and waits a moment... she closes her eyes and tries to calm down...

IMAGES OF HER STABBING PATRICK SLICE HER THROUGH HER MIND.

Her eyes open wide... she's fixated again... she turns the key to the ignition and looks back at Charlie's house...

JILL: Bingo.

She drives off.

* * *

><p>The reviews this season are gonna have a bit extra, feedback wise. In addition to commenting on the numbered sections, you'll follow a list questions and then answer them. Some questions will be the same every episode, some will only pertain to that episode so be sure to read the questions each time.<p>

Be sure to put actual input into the reviews instead of summarizing what happened in the sections. This includes what you thought of the section, liked/disliked, quotes you enjoyed, moments that stand out, particular wording/grammar usage that might not have worked or helped emphasize the scene, etc.. I truly appreciate your fanmanship of the show but a few of the reviews last season were very summary-like. I know what happens on the show, I wrote it, so no need to tell me.

**a)** What was your favorite moment from this episode?  
><strong>b)<strong> Which character had the best dialogue/quotes this episode? And which pieces of dialogue in particular?  
><strong>c)<strong> What vibe/theme are you getting the season is going for so far?  
><strong>d)<strong> What more from Jill and Charlie's relationship are you looking forward to?  
><strong>e)<strong>What themes would you like the show to feature in the future?

[Hello new reader to season 3! The show is currently at it's series finale point and needs 310 reviews for the final episode of the series to start up. If you could be kind, please write a review on this episode and any of the following episodes to help boost the number up. THANK YOU.]


	2. Episode 02: I'm a Weirdo: Part 2

**Do not forget** to add this story to your **story alerts**, your **favorites** and me as a **favorite author** as well as **author alerts**!

The reviews this season are gonna need a bit extra, feedback wise. In addition to commenting on the numbered sections, you'll follow a list of questions and then answer them. Some questions will be the same every episode, some will only pertain to that episode so be sure to read the questions each time. Only fully reviewed responses will be counted in order to get the next episode/chapter.

Be sure to put actual input into the reviews instead of summarizing what happened in the sections. This includes what you thought of the section, liked/disliked, quotes you enjoyed, moments that stand out, particular wording/grammar usage that might not have worked or helped emphasize the scene, etc.. I truly appreciate your fanmanship of the show but a few of the reviews last season were very summary-like. I know what happens on the show, I wrote it, so no need to tell me. But what I do need to know is what it is about the show that you do like and so forth so I can continue to give you the quality you expect each episode.

_302 - I'm a Weirdo (Part 2)_

1.  
>FADE IN:<br>INT. BARN - NIGHT  
>TITLE CARD: April 2011<br>A YOUNG COUPLE dressed as Dewey and Gale enter a horse steeple and close the doors behind them - the sound of a loud, scary movie booming on the speakers is silenced as the doors shut. The GIRL giggles as she leads the GUY toward a patch of hay.

She falls back as the Guy falls on top of her, beginning to kiss her neck. She moans softly - WE SEE A ROAMING POV of someone behind them. He stops and looks back at the sound of a cracking twig...

GIRL: Don't stop.  
>GUY: I thought I heard something...<br>GIRL: Probably just Stab.  
>GUY: No, it's something in here.<p>

He gets up and the girl is instantly peeved.

GIRL: What are you doing?  
>GUY: I'm gonna go look.<br>GIRL: You kidding me?  
>GUY: (smiles, beat) I'll be right back.<p>

She lays back and looks at her nails as fake Dewey makes his way into the darkness. He looks around - piles of hay surround him. He looks into the various horse steeples around him - nothing's inside. He turns around - and walks into GHOSTFACE. He falls down and crawls backyard - he takes out his flashlight and shines it on him - it's just a decoration placed upon the beam holding up the second story. He sighs with relief - A SCREAM comes from the other room.

He races back towards the girl - she lays in the hay, perfectly fine. She sits up to see him and they both look to the door - A CROWD BURSTS through and make their way towards a door on the other side of the room, splitting them apart.

GUY: What's going? What's happening? !

GUN SHOTS fire. He races towards his girlfriend in the hay and they leave out the building with the others.

EXT. BARN - CONT'D  
>They continue running as the kids all jump in their cars, speeding off. A Ghostface runs among them and takes off their mask - IT'S CHARLIE. The Guy stops him.<p>

GUY: Charlie! What's happening?  
>CHARLIE: Gale was attacked.<p>

Charlie throws off the rest of his costume and throws it to the ground.

GUY: When'd you put on the costume?  
>CHARLIE: Get the fuck outta here!<p>

The couple runs off and find their cars. Charlie watches them go and he turns to look back at the barn in havoc. Robbie runs towards him, drunk off his ass.

ROBBIE: Dude, what is happening? It's awesome!

Charlie regains composure.

CHARLIE: (fake smile) I know, right?  
>ROBBIE: We gotta get outta here though, man, c'mon!<p>

Robbie trips and falls on his face. Charlie helps him up and Robbie has a sudden look of realization.

ROBBIE: Aw shit, but we're gonna be in so much trouble!  
>CHARLIE: We'll be fine.<p>

Charlie throws Robbie down into the car's passenger seat. Charlie jumps in and turns on the car.

ROBBIE: My mom and dad are gonna be so mad at me.

Robbie realizes what he just said... and laughs his ass off. Charlie shakes his head and steps down on the accelerator as they DRIVE OFF.

SMASH TO BLACK -

**MAIN TITLES:**  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

2.  
>FADE IN:<br>INT. ROBBIE'S ROOM - DAY  
>TITLE CARD: June 2010<br>Robbie sits at his chair by the window, looking out across at his neighbor's property. A beeping noise comes closer. Robbie sips his mug and waits... a tractor comes into view and picks up a load of burnt wood and ash.

The tractor reverses, beeping some more and exits out of view. Workers in yellow walk around the old burnt down house like ants. He continues to watch him - the loneliest sadness in his eyes. He takes another sip from his mug...

ROBBIE: ... Niley...

CUT TO:  
>INT. NILEY'S ROOM - DAY<br>Niley looks up at her mirror with the pictures of her and Robbie aligning the sides. She's a wreck, a depressed mess, but she won't show her tears for it. She tries to remain strong... she sets a small trash can on the table and begins picking the pictures off. Her phone rings - she answers.

NILEY: (monotone) Go for Niley.  
>KIRBY: Niley! My buddy ol' pal, how goes it?<br>NILEY: Just taking down pictures of Robbie and I.  
>KIRBY: Barely?<br>NILEY: Passed the stages of denial... on to acceptance.  
>KIRBY: Well that sounds like a ball sack load of no fun, how about you come out with me? We're gonna go bar hopping.<br>NILEY: And how is that, exactly?  
>KIRBY: I met a guy who knows a guy who has a cousin who makes fake IDs. We'll get all McLovin in this bitch, get our drink on - we're hot, nobodies gonna care we're under age. Well, that is, until they wanna hit but I won't let them get a taste of our sweet teenage pus -<br>NILEY: Okay, I got it, Jesus.  
>KIRBY: (nonchalant)... I was just gonna say, "pussies."<br>NILEY: OH. Great, I would've never imagined!  
>KIRBY: C'mon Niley, it's no fun being drunk alone.<br>NILEY: How about you use your fake ID and swing by with a pack of Wine Coolers. We'll watch re-runs of Dawson's Creek or something.  
>KIRBY: Dawson's Creek? When were we transported back into the 90s?<br>NILEY: Well I just bought the whole set.  
>KIRBY: Your depression takes you to weird places.<br>NILEY: Mm. Tell me about it. (beat) But Kirby, I really don't wanna go anywhere. If you wanna come here, that's fine but - I'm not in the mood for leaving.  
>KIRBY: Okay, girlie. Talk to you later.<br>NILEY: Wait, does that mean you're coming over, or not?  
>KIRBY: Eh, we'll see.<p>

Kirby hangs up. Niley puts her phone back down and takes down the last picture of her and Robbie. She holds onto it for just a moment... thinking long and hard and trying to keep a good memory from the relationship that isn't tainted but what she now knows. No matter how hard she tries, she keeps hearing the words he told her nights ago over and over again in her head. And what happened between him and Solai just makes it worse.

3.  
>CUT TO:<br>INT. WOODSBORO HIGH - HALLS - THE NEXT DAY  
>Niley makes her way down the hall in the morning, her eyes puffy and her nose red from an evening of what we could assume was full of crying. She comes to the Guidence Counselor's office - she stops. Something's different about the door... Gale's name is missing.<p>

Gale exits from the door, a box full of her stuff. Gale turns and sees Niley - "shit." Niley smiles victorious but also sad on that same regard. Gale makes her way down the hall toward the parking lot.

NILEY: Told you you would last less than a year.  
>GALE: Don't be such a smart ass!<br>NILEY: Why you leaving?  
>GALE: I think I've had as much as I can stand with this school.<br>NILEY: You were barely ever around.  
>GALE: Exactly.<br>NILEY: I'll miss you, Gale.  
>GALE: Hm. How sweet. Have fun burning down more houses.<br>NILEY: Oh, I will. Capatalize on more teenage deaths.

They share a brief smile and Gale exits the building. Dewey enters the building as she exits, giving her a quick peck on the cheek as she passes by.

NILEY: Hi Dewey.  
>DEWEY: (frozen) Uh... hi.<br>NILEY: You don't... remember me?  
>DEWEY: (innocent smile) Ofcourse I -<br>NILEY: What's my name?  
>DEWEY: Okay, I don't. Sorry, real busy. Lots of people in this town that I see every day.<br>NILEY: I'm perfectly content with being another face in the crowd.  
>DEWEY: Let's keep it that way!<p>

He runs off. Niley sighs and turns to her locker... not being remembered by the Sheriff is more depressing than she thought it would be. She opens up her locker, taking out her books and piling them up in her arms. A giggle echos through the hall... her joints lock up and she rigidly turns to see who she knows she's going to see coming down that hall. Solai and Robbie walk down the hall together - laughing and smiling. He looks up and notices she's there... his smile quickly fades and tries to mask it. A knot forms in Niley's throat and she's incapable of moving for a moment - watching them go by as if it was almost slow motion - like if they were happy together. She finally takes a deep breath and slams her locker door, walking off in the other direction. Robbie watches her go... he knows this is his fault...

Niley turns the corner, bumping into Jill at her locker. She quickly runs off... Trevor stands behind Jill and watches her go.

TREVOR: I got some stuff to do after school.  
>JILL: Like what?<br>TREVOR: Just some studying and - stuff.  
>JILL: Oh... and will studying and stuff take awhile?<br>TREVOR: Probably so I'll just see you tomorrow.  
>JILL: (beat) Okay. That's fine. But you'll be home?<br>TREVOR: Oooooh, uh, yeah. Probably, I don't think I'll need to go anywhere.  
>JILL: So I can drop by at any time? Give you some snacks or something?<br>TREVOR: Ah, yeah, no. That wouldn't be a good idea. Then I'm distracted, we get to talkin' and then - I get off track and I fail my final.  
>JILL: Because school is suddenly SO important to you.<br>TREVOR: (beat) Right.  
>JILL: 'k.<p>

Trevor sighs, smooches her on the lips and quickly, nervously, turns around - HIS FACE SLAMS INTO AN OPEN LOCKER DOOR. Jill giggles and he turns around to see her laughing.

JILL: Yeah, you kinda deserved that.

He laughs and shrugs it off, continuing on his way. Jill watches him go... as he's leaving, Charlie makes his way passed him. He notices Jill - he ducks his head and walks faster.

JILL: Charlie!

Charlie looks up, puts on a fake smile and approaches her.

JILL: You avoiding me?  
>CHARLIE: No, I - ofcourse not.<br>JILL: Uh huh. Hold my books.  
>CHARLIE: I gotta get to class -<p>

Jill piles them onto his arms without hesitation.

JILL: It'll be quick. Walk with me.

She closes her locker with her free hand while in her other hand is her one tiny folder as Charlie holds 3 heavy books.

CHARLIE: What class are these books for?  
>JILL: English. We just got that Shakespeare book a month ago. Had to get the complete works.<br>CHARLIE: Every story?  
>JILL: Every - story. Learning quite a lot from Mr. William.<br>CHARLIE: Like what?  
>JILL: Plotting. You should read Othello. Iago is like my hero.<br>CHARLIE: What does he do?  
>JILL: He basically convinces Othello that everyone is against him. And not only Othello, but shit, all the other characters. Sooner or later, he has everyone doing his evil bidding by creating such an elaborate and intricate scheme out of all his lies. But he's so friendly with everyone, nobody suspects him to be the culprit. And just as everyone is practically dead, he NEARLY gets away with it. Until he lets it slip. Tragedy, if you ask me.<br>CHARLIE: Yeah, sounds like a tragedy if everyone practically dies.  
>JILL: No. Tragedy that he worked so hard on something and it doesn't come full circle.<p>

Jill takes the books out of Charlie's hands as he stares on - frozen from the words Jill just spoke - she enters her class and he remains there... a bit uneasy. He continues on away from the door.

4.  
>CUT TO:<br>INT. WOODSBORO HIGH - QUAD - LUNCH  
>Jenny and Marnie sit in a corner in the quad - away from everyone else. They already have their trays full of snacks. Jenny nibbles away as Marnie stares at her.<p>

MARNIE: So you're not gonna tell me where you were yesterday?  
>JENNY: I was sick, I told you.<br>MARNIE: Sick?  
>JENNY: ... yeah. Weirdo.<br>MARNIE: Sick with someone in particular?  
>JENNY: I don't know what you're talking about.<br>MARNIE: Were you with Trevor or not?  
>JENNY: (smiles) Do you really wanna know?<br>MARNIE: Yeah, I would love to know why I was here by myself yesterday.  
>JENNY: Not my fault you have no other friends.<br>MARNIE: (beat) Actually, it kinda is.  
>JENNY: Whatever. Anyway... okay, Trevor and I were together.<br>MARNIE: The whole day?  
>JENNY: (blushes) Yeah...<br>MARNIE: Don't tell me you -  
>JENNY: We had so much sex.<br>MARNIE: What? Who talks like that, "we had so much sex?" You sound like a hormonal, dumb teenager - oh wait...  
>JENNY: We started Prom night.<br>MARNIE: Oh, no surprise.  
>JENNY: And then ever since... we just... fuck all the time.<br>MARNIE: I'm eating.  
>JENNY: You wanted to know.<br>MARNIE: What is it that makes him worth taking this risk for?  
>JENNY: What RISK is there, Marnie?<br>MARNIE: Really? We're going to pretend like Jill isn't fucking crazy and doesn't spit in people's faces over nothing?  
>JENNY: Spitting isn't killing anyone.<br>MARNIE: First it's spitting, then it's punching - oh wait, she's done that too. Okay, and after punching it becomes - I don't know, punching with a knife in their hand.  
>JENNY: Please. Plus they're going to break up soon anyway.<br>MARNIE: Trevor's going to leave her? For you?  
>JENNY: Yup. He said within the week. And I already know, we won't make it obvious it's because of us. We're gonna wait it out. Maybe a month or two... and then we'll make ourselves known. Perhaps over the summer. Little ol' Jill will have nothing to say.<br>MARNIE: You are so stupid. He's not going to leave her, Jenny.  
>JENNY: When the time comes, Marnie... I'll try not to tell you, "I told you so." You might wanna find some new friends too, you won't wanna be the third wheel.<p>

Jenny gets up with her empty milk carton and throws it in the trash. Marnie watches her go - disdain growing in her eyes.

MARNIE: Whatever.

Jenny sits back down - big smile on her face.

JENNY: You'll see. Come summer... everything... will change.

FADE OUT:

5.  
>MONTAGE:<br>- Graduation day. Mr. Leeds claps as the graduates walk off the stage. A memorial segment begins as Chelsea's face appears on a screen. Mr. Leeds quickly becomes uneasy... Chelsea appears from behind and holds his hand... she grins.  
>- The last day of school. The kids run out of the school. Jill and Trevor walk hand in hand. Jenny watches them go as she watches jealously.<br>- Jenny and Trevor wrestle around in bed - now she's happy.  
>- The gang are out at the movies - - minus Niley and Roy.<br>- Niley sits at home, sewing a sweater. She pricks her finger and throws the needle across the room.  
>- Roy and Tess sit in a car. Tess screams at him and he sits back, letting her yell all she wants.<br>- Mr. Leeds works out on his treadmill in the basement. Chelsea watches him off to the side - the guilt weighing down on him with each step.  
>- Trevor kisses Jill goodbye as she leaves her house. She closes the door and watches him walk off. She throws on a dark sweater... and follows him out.<br>- Trevor enters his house. Jill watches from across the street. She turns back around and heads home, feeling stupid about her suspicion.  
>- Trevor opens his bedroom door - Jenny already waits in bed, half naked under the covers. The door CLOSES -<p>

DARK.

FADE IN:  
>EXT. WOODSBORO HIGH - MORNING<br>TITLE CARD: September 2010  
>Jill exits Kirby's car along with Olivia. They stop and look on at the school. They look more reminscent of their Scream-4-selves now.<p>

OLIVIA: Senior year.  
>KIRBY: Let's see what trouble we can get ourselves into this year.<p>

They giggle and walk forward. Jill stays behind and looks on at the school towering over them. She watches Olivia and Kirby continue on - happy together. Jill would be happy too... but something within her seems broken. A car door slams aside her. She looks over a few cars down. Charlie exits his car and strings his backpack over his shoulder. Robbie exits with him.

Charlie notices Jill standing there - his smile from before fades away. He gives a little wave as he walks on. Jill gives a half smile... Charlie and Robbie follow after Olivia and Kirby. Jill looks back at the school's front building...

JILL: It's showtime.

Jill walks forward toward the entrance of the school and blends in with the rest of the crowd entering the school. She's lost in the sea of people... CRANE ABOVE the crowd as the eerie music begins as they all enter in a herd. BLACK.

**a)** What was your favorite moment from this episode?  
><strong>b)<strong> Which character had the best dialogue/quotes this episode? And which pieces of dialogue in particular?  
><strong>c)<strong>What vibe/theme are you getting the season is going for so far?

**Feel free to send me any questions for the upcoming Q&A!**

**25 reviews for Episode 3! Q&A will be the next chapter!  
><strong>


	3. Jenny's Poem Book: Page 1

**Do not forget** to add this story to your **story alerts**, your **favorites** and me as a **favorite author** as well as **author alerts**!

We're meant to be, I know it

It's a secret, so we can't show it

We'll be free to be anything we wish

He can be the mister, I'll be the missus

Together, forever, he told me, he said

I'm hung over him, hung over my head

I'm so gutted, I can't take the secrecy

I want every girl to know he belongs to me

She doesn't deserve him, she just can't tell

That he's everything amazing, that's why I fell

She treats him horribly, like some type of trophy

On her arm, whenever she wants him, mostly

But there's no need, for me it's want

And I don't care to show off or flaunt

He will be mine and all will know, sure

It'll be the way we are, not the way we were

I'm content for now although it hurts

Sharing him with her is the worst

But our time will come, oh yes, indeed

Him and I, without the her; we will be free

**Feel free to use this to make 25 reviews for Episode 3! Q&A will be coming up next!  
><strong>


	4. Q&A With the Author: Part 1

**Do not forget** to add this story to your **story alerts**, your **favorites** and me as a **favorite author** as well as **author alerts**!

* * *

><p>1. What are the point of the opening scenes in each episode like the opening scenes of the episodes in season 2?<br>The opening scenes in season 3 are "puzzle pieces" to what happened the night of the massacre coming up. Unlike the openers in season 2, which is more of continuing story, these will be random "puzzle pieces" so one can put them together at the end of the season to get a wide scope of everything semi-important that happened that day. So in essence, they should be called the "puzzle piece opening sequences."

2. Opening credits sequence - finally!  
>I know, I was excited to do it. Before, it always seemed like it would be pretty cheesy since nothing dark and foreboding was happening but this season, I found the right theme, tone and foreshadowing that would occur throughout the show that would keep the show at that level all season long. Usually dark stuff happened at the end of the seasons before but this season, it's gonna be happening all season long starting in just an episode or two coming up.<p>

3. Are the first two episode titles a reference to Radiohead's "Creep?"  
>Yes! At first, I wanted all the episodes to be titles or lyrics of songs but that seemed kinda corny so I'll only limit it to a few episodes.<p>

4. Are Sidney, Dewey and Gale really going to be throughout this season enough to be in the main titles?  
>Yup. I've found a way to basically put them in every episode. Sidney will be in all of them starting in two episodes and until the end of the season.<p>

5. How many times have you seen Scream 4?  
>Only three times. Once at the midnight opening, the second time on opening day and a third time when I bought it the day it came out. I plan on watching it again as my last movie I saw in 2011.<p>

6. Why do Marnie and Jenny stay as friends?  
>Well, like any story, there's always more that goes on that we don't see. So we can assume whatever that keeps them around each other happens during that time. We're just seeing the integral part of the story that results in the eventual culmination of the series. However, this has been a common question among the readers so I'll go ahead and add something in there soon that shows their common ground.<p>

7. When does Charlie start to buy into what Jill is saying?  
>Within the next 2 episodes, he'll start to really get what Jill is telling him which is around the time Jill finds her window of opportunity. And then within 2 episodes after that, he'll be just as in it as she is.<p>

8. Who does Trevor really love: Jill or Jenny?  
>We can assume neither since he plays with both of them so badly. I always felt bad for him at the end of Scream 4 - this is my way of fixing that buahahahahaha.<p>

9. Wasn't Richie and Shirley supposed to be in the show by now? And what about Olivia's brother, Joseph?  
>They were but I decided to write them out of the main storyline. They'll pop up every now and then like they usually do but never be apart of anything that's happening like they were planned to. I think it works better for their opening in Scream 5 if we know less about them. Joseph will be around towards the end of the season.<p>

10. Will there be more poems by Jenny?  
>Yes and no. I'm doing something new this season. After every episode, I'm going to focus on a certain character's mindset and reflect that in some way. Jenny's will be in poems but what about everyone else? Marnie has a blog. Jill, later on, will have her "kill list" that she'll add to and put reasons next to each person. So on and so on. I thought it'd be cool, hopefully people like that kind of thing. Each person will be doubled or tripled over by the end of the season.<p>

11. Was the opening titles inspired by The Walking Dead and American Horror Story?  
>Definitely. I loved both of those shows and their opening titles. Neither of them really have the same horror elements like Woodsboro High will this season but I thought if I used that type of atmosphere for the opening of this show, it'd really up the creepy factor and foreshadow where everything is going really soon.<p>

12. Is Chelsea a real ghost or a part of Mr. Leeds' imagination?  
>... you decide. I'm breaking a lot of the rules that I set up when I started the show... let that be a hint... or is it? Buahahahahhahaha!<p>

13. I'm confused about the 6.66 3.33 part, can you explain to me?  
>There's a demonic, somewhat supernatural theme I'm setting up this season. Whether it's in the character's heads or for real is the question!<p>

* * *

><p>Feel free to use this to make <strong>25 reviews<strong> for Episode 3! Send in any questions for the next Q&A coming after a few more episodes!

* * *

><p><strong>Do not forget<strong> to add this story to your **story alerts**, your **favorites** and me as a **favorite author** as well as **author alerts**!


	5. Scream 4 Notes

**Do not forget** to add this story to your **story alerts**, your **favorites** and me as a **favorite author** as well as **author alerts**!

"Hi kids! Do you like violence? Wanna see me stick nine inch nails into each one of my eyelids?" - Eminem

Now I'm not saying that Eminem will be crucial to the storytelling process of this season of Woodsboro High but let's just say I didn't put that quote in there for no reason. Look through his list of songs and you'll find a title that perfectly fits Jill. I've been wanting to use it ever since Season 1 for a scene and I've been waiting and waiting... so this season I'll finally get to use it. HINT: It's on his most recent album, "Recovery." If you can't find it, no worries, it'll be the title of an episode coming up.

OH. And why you're here. Sorry, almost got off track there. So I gave Scream 4 a fourth watch today as a little "preparation" for this upcoming season. You won't be getting an episode until after the New Year; I honestly didn't think this would make 25 reviews until after but since you guys were kind enough to bump the number up to 27 before I expected, here's a little treat. What you're about to see are my "notes" which I found important during my last watch and will have to deal with the show in some way.

There ARE spoilers in regards to the show (and to Scream 4, obviously - but if you're still reading the show at this point and haven't seen the movie, I really don't know why you're ruining it for yourself!). There's not many things that flat out say what will happen on the show but you'll get a good idea of the timeline I'm working with when it comes to the episodes that revolve around Scream 4 and from there, you'll be able to make inferences on what will happen.

So here you go, enjoy the look into my mind while I try to organize this chaos and world by paying attention to the littlest of details that matter the most to someone like me - - a writer and ofcourse, to the very special person who keeps me going - - the reader, even if it is under your nose and you don't catch them until a random watch of the movie years later and you go "OH, that's why that was in WH." Or even better, to read this and then watch Scream 4 and for it all to seem like one cohesive piece. "It's all in the details." And that's to fulfill my mission for those who started this journey with me to read all these episodes throughout these last 3 seasons: for you to be able to read this as a great accompanying piece of work to Scream 4, as well as my Scream 5 and 6. To fill in the gaps, to bring a better understanding and to create depth of this already immersing world by making it even bigger. There's a thousand stories in Woodsboro High and they all lead to the finish line of Scream 4, my Scream 5 and finally Scream 6.

Most of this will be obvious plot points and beats. Some of this is tiny details. Some may be for nothing. And some are to get the essence of the timeline.

NOTES:  
>- Jenny's seen Stab 7 5 times<br>- Jenny's "always" trying to scare Marnie  
>- Jenny, Hellboy fan<br>- Marnie killed while on the phone, stabbed in the stomach  
>- Jenny stabbed in back, all at Jenny's house<br>- Hanging up the masks around town  
>- The Bee's Knees store<br>- Gale writes now  
>- Trevor calls both Kirby and Olivia the night of<br>- Charlie calls Jill the morning after, Olivia before  
>- Robbie's cam is 2.0, totally mobile now<br>- Killer's phone in Sidney's trunk  
>- Olivia drives her own car<br>- Charlie steals Trevor's phone  
>- Cops see Ghostface before he attacks Olivia<br>- Charlie hides in closet, attacks Jill and Sid, out the back door, Trevor still around, Kirby comes with the cop  
>- Charlie returns with Robbie to the hospital for Gale confrontation<br>- Dr. Orth  
>- Charlie attacks Rebecca, 6th story<br>- Stab-a-Thon on a Friday  
>- Trevors at Stabathon with some girl, sees Kirby arrive<br>- Charlie watches Gale put up the cameras, sets up own that Jill controls from home laptop, saves as "Home video .mov " on her desktop  
>- Fort Dillon Road - Stab-A-Thon<br>- Charlie's with Robbie when Kirby leaves  
>- Jill IMs Kirby's phone, kills cops, calls Sidney, Kills mom, Kirby comes, Judy arrives, Sidney leaves &amp; tries to find Kirby's house<br>- Charlie moves the bodies while Jill attacks Sid and mum  
>- Charlie tells Trevor about an after party at Stab-A-Thon<br>- Jill texts Trevor on the way  
>- Jill goes outside, Trevor looks for her, she goes upstairs, Trevor interrupts Kirby and Charlie, Trevor goes upstairs, attacked by Jill<br>- "Oh the intrigue of Woodsboro High. Who needs a killer when there's so much drama."  
>- Charlie walks away after interruption with Trevor and Kirby, kills Robbie, Sidney arrives.<br>- Jill under bed, Charlie on roof, Charlie on roof, Sid calls Dewey while he's at the Roberts, falls off -roof, runs into Kirby, they go down stairs  
>- 329 Whispering Lane - Kirby's address<br>- Charlie bangs on basement door, Jill attacks Charlie and ties him up and calls Kirby from Charlie's phone  
>- Sid goes upstairs to check on Jill, she's gone<br>- Charlie stabs Kirby, Sid returns to Kirby as she moves around in basement, Charlie attacks, Jill stabs Sidney

**Let's do 32 reviews before episode 3, yeah?  
><strong>


	6. Episode 03: Street Lights

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303 - Street Lights

1.  
>FADE IN:<br>INT. NILEY'S ROOM - EARLY MORNING  
>Niley lays in bed, asleep. Her eyes slowly open and she looks across to her nightstand with her phone on it. She wipes her eyes and gives a big yawn while mustering the strength to get up with her hair a mess. She turns on the main screen of her phone - - no text messages. She shrugs and jumps up.<p>

INT. NILEY'S BATHROOM - MOMENTS LATER  
>Niley exits the bathroom with her towel wrapped around her, now perfectly clean. She looks at her phone again. No text messages. Her eyes shift... hm...<p>

EXT. STREETS - A FEW MINUTES LATER  
>Niley jogs down the street in her jogging attire. She takes out her phone and dials a number, holding it to her ear as she continues to jog after taking out an ear bud from her headphones. No answer. She holsters it into her arm-wallet with her iPod attached and stops jogging. She looks on at the house in front of her... and walks toward the door...<p>

INT. UNKNOWN HOUSE - CONT'D  
>Niley comes to the door - - it's open. She enters cautiously and looks around. She yanks the ear buds out and takes a swig from her water bottle.<p>

NILEY: Hello? It's Niley.

She politely closes the door behind her. She wobbles in, looking around. Something's not right...

NILEY: You were supposed to text me for our usual morning jog. Don't get lazy on me now.

Niley heads for the stairs - - there's a CRUNCH under her feet. She looks down - - broken glass. She slowly looks back up - - the door to the side of her is smashed open. She continues on - - and looks into the next room.

NILEY: Did you know that your door's broke - -

She freezes in her tracks, completely paralyzed in fear; a single tear streams down her cheek as her mouth instantly drops.

NILEY: Oh, my God... oh, my God.

She backs up into the wall - - completely glued on what's in front of her. WE ZOOM OUT - - A PAIR OF LEGS DANGLE BEFORE HER, DRIPPING BLOOD.

TITLE CARD: April 2011

Niley lets out a BLOOD CURDLING SCREAM into her hands as she slides down the wall.

JENNY'S HUNG FROM THE CEILING FAN, HER INTESTINES SWINGING UNDER HER. MARNIE'S TIED TO A CHAIR, HER GUTS SPRAWLED ACROSS THE FLOOR. Behind them, on the wall and written in blood reads, "What's your favorite scary movie?"

SMASH TO BLACK.

* * *

><p><strong>MAIN TITLES:<strong>  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

* * *

><p>2.<br>FADE IN:  
>INT. UNDISCLODED LOCATION - DAY<br>CLOSE IN on a computer's screen. Words sprawl across a white monitor in a scholorly font. Words continue to type out and then finally stop. TILT DOWN to the keyboard. A set of female hands rest over it and are paused for a moment. The ring finger hovers over the "period" and clicks in. TILT UP back to the computer screen. "THE END" is written out under the final paragraph.

TITLE CARD: September 2010

ZOOM OUT to reveal SIDNEY PRESCOTT at her computer desk. She sighs and re-reads her final sentence while biting her fingernail until she softly says to herself - -

SIDNEY:... the end.

CUT TO:  
>INT. WOODSBORO HIGH - HALLWAYS - DAY<br>Jenny stands before Trevor at her locker. They look around them - - they know they shouldn't be seen together. Trevor looks down like an ashamed dog - - he truly is though. Jenny plays her part as cheerleader and tries to prep him up.

JENNY: Today's the day, Trevor. You promised.  
>TREVOR: Ah, I know.<br>JENNY: You're gonna do it this time?  
>TREVOR: Yeah... yeah.<br>JENNY: The longer you wait, the longer we have to hide us. You don't wanna hide me, do you?  
>TREVOR: Ofcourse not, baby.<br>JENNY: (smiles) I love it when you call me "baby."  
>MARNIE (O.S.): Ugh.<p>

Jenny turns around to Marnie standing behind them, watching this sick freak show before them.

JENNY: You don't have to be here.  
>MARNIE: I'm the witness to that he actually said he'll do it this time.<br>TREVOR: Whatever, Marnie the Carnie.  
>MARNIE: What the hell, the name's caught on with you too?<br>TREVOR: If the shoe fits...  
>MARNIE: Take it off and throw it at your head.<br>TREVOR: Funny.  
>JENNY: Guys, c'mon. Please. Back to me.<br>TREVOR: I PROMISE I'll do it this time.  
>JENNY: (puppy dog eyes) Right now?<br>TREVOR: Does it have to be right now? Beginning of the day, she'll be sad for the rest and then -  
>JENNY: No excuses this time...<br>TREVOR: You're right. You're right.  
>MARNIE: Okay, I heard it. He promised. I'm out of here.<p>

Marnie walks off down the hall and Jenny pats Trevor on the shoulder. He ducks out, trying not to be seen and joins in with the crowd. Jenny watches him go with pride - - things will finally work out for her.

3.  
>CUT TO:<br>CLOSE UP ON - - JILL  
>Her eyes peer forward. There's no emotion but beneath that emotion is the most intense feelings she's ever felt: betrayal. Her facade built to keep out any expression begins to break - - and a tear falls from her eye.<p>

SLOWY ZOOM OUT to reveal - -

INT. WOODSBORO HIGH - HALLWAYS - DAY  
>Trevor stands in front of her, speaking. We see him from her POV. Words spill out of his mouth but she can't hear a single one as if a bomb blew and her ears went deaf. The explosion was enough to get the idea of what happened and the aftermath of why all of a sudden didn't seem so apparent.<p>

ZOOM OUT further. Happy teens walk passed as if they're in a different world where there's no care in the world. There's no stopping to see what Trevor and Jill are talking about. Perhaps she's being talked to by her now ex-boyfriend, but she's never seemed so isolated before.

Trevor's stopped speaking and he tries to read her face. He snaps his fingers trying to catch her attention. She looks up at him and her mouth quivers. She could say something but now it's useless. He sighs and walks off, a clear "sorry" coming from his lips before he goes. He enters into the crowd going into different directions, among the ones in another world.

Jill's just an outsider looking in at the people around her that she has no connection to. No string to be pulled along this cattle that mindlessly pays her no mind. And soon, they disappear. The school bell has long rung. And now she's literally all alone... still in the hall in the exact same spot... and she hasn't said a word.

She looks around again, realizing now the reality she's in. Realizing now what's just happened. Realizing now that everything will change. Realizing now that she has not a single person she can go to for help. Realizing her deepest fear of him cheating on her may be true for him to leave her so sudden. When everything seemed to be fine. When everything appeared normal. He was happy. She was happy. They were happy. Something builds inside of her from the pit of her stomach and races up her chest, up her throat and out her mouth. SHE SCREAMS. Long and lengthy, deep and crushing, angry and sad. It echos throughout the halls but not a single person exits a classroom door to see what's the matter.

More tears fall from her eyes and she finally at least moves her head to look and down the halls. She inches towards the center of the hall and does a 360. She can't believe what's going on right now. She stops again... and SCREAMS. THE DOORS BURST OPEN and the student rush out. The hallway is filled again and they all continue on with their merry business - - not a single one stops to see why Jill is standing in the center. A few people shove her, tell her to move out of the way or purposely ignore her - - but she remains still... until...

KIRBY: What the fuck are you doing?

Kirby grabs Jill by the arm and presses her against the lockers off to the side. Jill doesn't speak... she just cries.

KIRBY: Jill. Jill! Hey, look at me, sweetie, what's wrong?

Her breathing quickens and the tears flow faster.

KIRBY: Okay, um...

Kirby does the only thing left and brings Jill in to lean her head against her shoulder. Jill nearly falls over and collapses into Kirby's arms. Kirby holds her up and lets her cry it out.

JILL: He left me... he left me.

Kirby grits her teeth and holds Jill closer, trying her best not to cry herself.

KIRBY: Honey, it's gonna be okay, okay? C'mon, let's get you out of here. I'm taking you home.

Kirby throws Jill's arm over her and drags her out to the closest exit.

4.  
>EXT. WOODSBORO HIGH - QUAD - CONT'D<br>Kirby drags Jill out towards the parking lot. Jill's a blubbering mess and her make up runs down her face. They make it to the edge of the parking lot and a cop car pulls up. Hoss is behind the wheel and he looks on.

HOSS: Excuse me? Is everything okay?  
>KIRBY: I just need to take her home.<br>HOSS: Do you have a note?

Kirby stops for a moment and sits Jill down at a planter. She leans her head in through the passenger door window.

KIRBY: Look, my friend is having a shitty day. I pick her up and take her home, and right now, my duties are highly needed.  
>HOSS: You can't leave without a note, I'm sorry.<br>KIRBY: Look at her.

Kirby moves out of the way so Hoss can see the mess that Jill is. She returns back.

KIRBY: Do us a solid so she doesn't have to feel humiliated. I'll come back, I promise.  
>HOSS: Not without a note from a parent or a legal guardian, those are the rules.<br>KIRBY: Are you fucking serious?  
>HOSS: I'm gonna have to ask you to please return to the campus or I will have to apprehend the both of you.<br>KIRBY: You're like barely 5 years older than us, c'mon!  
>HOSS: I'm 27.<br>KIRBY: Ten years, big difference.  
>HOSS: Double the number you insisted.<br>KIRBY: WHATEVER. Look, you seem like a cool guy and I know when that uniform comes off, you're quite the party animal, aren't you? Eh? Eh?  
>HOSS: A little.<br>KIRBY: Ah, see. Now, I have the inside scoop on all the teen parties. Over 18 ofcourse, strictly senior females - - all legal. Except, the reason to their willingness to sleep with you may not be legal but hey, you can turn a blind eye. Like you can turn a blind eye right now so I can take my friend and then you will have unlimited access to hundreds of teenage skanks looking for some handsome 27 year old deputies.  
>HOSS: You really think I'm handsome?<br>KIRBY: (bites her bottom lip) Maybe.  
>HOSS: Thanks. But you need a note.<br>KIRBY: AUGH! WHAT THE FUCK! Not cool, Hoss. Not cool!

Kirby returns to Jill and slings her over her shoulder.

HOSS: Have fun at school, ladies.

Kirby drags Jill back towards campus. Jill's head slumps down. Hoss watches them walk back - - through Jill's hair, he can see her eyes STARING BACK AT HIM with the evilist of looks.

HOSS: Sheesh.

CUT TO:  
>INT. WOODSBORO HIGH - HALLWAYS - DAY<br>A LOCKER SLAMS and Tess walks away from it, leaving Roy behind. Robbie approaches him from behind.

ROBBIE: What happened there, bro?  
>ROY:... did you really just call me, bro?<p>

Roy walks down the hall and Robbie follows behind like a lap dog.

ROBBIE: Forget it, hey, first Cinema Club meeting today. You coming?  
>ROY: I don't know, Tess is pretty pissed at me right now. I should probably fix that.<br>ROBBIE: But it's Cinema Club. You pretty much invented it.  
>ROY: (stops and turns around) OH... NOW you admit it.<br>ROBBIE: C'mon man, it's not the CC without you. Who else is gonna suggest we watch Troma movies every Tuesday. Troma Tuesday. Nobody else is gonna stick up for that.  
>ROY: I only did that because I heard Esline liked Troma movies and I wanted to impress her since the whole Kirby thing wasn't working out too well but I have a girlfriend now so...<br>ROBBIE: In all fairness, it doesn't seem like that's working out too well either...

Roy shoots him a "YOU BETTER SHUT YOUR MOUTH" look.

ROBBIE: (backs down) Just kidding. Whatever happened with you and Esline anyway? That one New Years, you guys were all... together.  
>ROY: It was just a fling. Ya know, like... you and Chantelle.<br>ROBBIE: What?  
>ROY: You were each other's midnight kiss. Remember? The FIRST time you cheated on Niley.<br>ROBBIE:...  
>ROY: I guess you forgot to tell her about that one too, didn't you?<br>ROBBIE: Hey, man, she forgot about me, okay?  
>ROY: I'm not judging you. Besides, she kissed some other dude that day.<br>ROBBIE: What? !  
>ROY: What do you care?<br>ROBBIE: I... don't...  
>ROY: Didn't think so...<br>ROBBIE: But, uh, hey, no pressure. If you can make it then cool beans but if not... we'll miss you.  
>ROY: Thanks. And thanks for finally admitting I invented it.<br>ROBBIE: (runs off) I never said that!  
>ROY:... mother fucker.<p>

5.  
>INT. WOODSBORO HIGH - GIRLS BATHROOM - DAY<br>Jill sits on the toilet as Kirby stands before her, wiping off the smeared make up from Jill's face, treating her almost like an infant unable to care for herself.

KIRBY: Trevor Sheldon. I never saw what you liked in that guy anyway. Whatever happened to Cory, hm? I liked him. And all the jumping off of bridges to declare his love for you thing. I'm kidding, ofcourse. You don't need a boyfriend. All you need is me.

She smiles at Jill and waits for some type of emotion of her back. It's not working.

KIRBY: That's fine. You don't have to smile. Not like many people have been lately. But we're always rushing from one thing to another, we can't just stop for a moment to realize what we lost. Ya know, the other night I was laying in bed, just - - laying there. Trying to think to get myself to go to sleep and it finally hit me - - Chelsea killed herself. Like... whoa. Ya know? How the fuck did that happen? Why didn't we see that coming? Why didn't we think that would happen after the whole... (sighs) baby thing? And then I started to think even more, was it because of me? Because I overshadowed her with my rash behavior with getting into car wrecks that everyone was too worried about me to think about what she was going through? I mean... she was the one who went through it. The baby was in her womb... and she lost it... they go around town calling her a "baby killer" like she's the first fucking person to ever have a stillborn baby and then she goes and kills herself. Where were we to help her out as friends? When did we stop caring? And then Katherine... personally, I found her annoying but shit... it's almost as if I've seen so much death that now I'm immune to it. Like the next time it happens, it'll just fly over my head. Whew, old news, what's next? (long beat) I've become numb. That's the truly sad part about all this... and I can't even feel it. I can't feel anything. Prichard, Chelsea, baby, Katherine... it's true what they say about our generation. We're desensitized. Have we become accustomed to it? Is it the news? The media? Now that it's less taboo to talk about it than it was before, is it the ease of conversation that makes it less traumatic? Is it the movies?  
>JILL: (quickly responds) No... not the movies. Movies teach us how to be human.<br>KIRBY: I suppose you're right. It's the only language I speak now. It's the only place I see emotion. Not here. Not anymore.

THE STALL bursts open and hits Kirby in the back. Olivia looks down on both of them.

OLIVIA: Oh, my God, my poor Jill. (to Kirby) Did she throw up? She threw up, didn't she?  
>JILL: I didn't throw up. I don't even know why you thought - - whatever.<br>OLIVIA: Don't you worry about a thing. What did he say?  
>JILL: I don't know. I just heard, "we need to talk" and I went deaf. It was the most ghostly feeling.<br>OLIVIA: Well he'll be done with that bitch and back to you in no time.  
>JILL: (?) What?<br>OLIVIA: Jenny. I saw them together on the way over here.  
>JILL: Jenny would never do that, we're friends.<br>KIRBY: (chuckles) Okay, I know I was missing for awhile a couple months back, but even I know that's not true anymore.  
>JILL: (truly lost) What are you talking about?<br>OLIVIA: Jill. Wake up. You pushed her away long ago. There's no way she thinks you're still friends and it's totally plausible that she sees Trevor as fair game. Matter of fact, she probably always has, seeing how she was pissed you stole him from her in the first place.  
>JILL: I didn't steal from anyone.<br>OLIVIA: Really? You don't remember the whole, "I saw him first" thing.  
>JILL: (getting up) This is bullshit, I need to see it with my own eyes.<br>KIRBY: (sits her back down) Just sit on the toilet. Olivia's blowing smoke up your ass anyway.  
>OLIVIA: Okay, maybe I didn't exactly SEE IT.<br>KIRBY: See.  
>JILL: Then why would you say that?<br>OLIVIA: You know me, I get bored.  
>JILL: You're a bitch.<br>OLIVIA: That's my favorite nickname.  
>KIRBY: Okay than, Bitch, you're not needed anymore. Byyyye.<br>OLIVIA: Don't forget I'm her best friend. Yours too.  
>KIRBY: I was drunk and I regret saying that.<p>

Olivia walks off with a pretty wave. Kirby and Jill stare at each other for another last moment.

JILL: Am I pretty?

Kirby would be totally lying in this moment if she said anything but "no."

KIRBY: (rubs Jill's cheek) Yes. Ofcourse you are, sweetie.

6.  
>CUT TO:<br>INT. WOODSBORO HIGH - CAFETERIA - DAY  
>Niley sits at a table in the far corner of the room, slowly munching on her tater tots. The room around her converses, gossips and communicates like there's no tomorrow while she remains quiet. Her ears nearly pick up every conversation to see what she's missing out on. She can single each one out as they come in and out of her head, like searching for a radio station. She shakes her head to stop the voices and focuses back down at her food.<p>

NILEY: Being lonely blows balls.

She looks across the room. Jenny and Marnie sit together, having a conversation together and laughing. Niley grows envious... but then she realizes...

SHE SITS UP and walks right over there and sits down with them.

NILEY: Hiiii.  
>MARNIE: Hi?<br>NILEY: So what's so funny?  
>JENNY: I was just, um... telling Marnie... a story.<br>NILEY: Cool. Well don't stop on my be-calf.  
>JENNY: O... kay. So, uh... we were... there... and this girl comes up to us... and knocks on the window... and she... (can't take it any longer) okay, I'm sorry, what are you doing here?<br>NILEY: Hanging out with you. Buddy ol' pal!

Niley punches Jenny in the shoulder. Marnie has no idea what's going on.

JENNY: I don't think that's the best ide - -  
>NILEY: Hey Jenny, remember it was your brother who was driving the car when we got in that accident on Halloween and I lost my memory? Crazy, right?<br>JENNY: Suddenly I feel guilty. Okay, fine, you can stay.  
>NILEY: (smiles) I knew you'd warm up to the note's son.<br>JENNY: The what?  
>NILEY: The note's son. The idea of it.<br>MARNIE: Do you mean the notion?  
>NILEY:... I have a shin. Why would I say no shin? Do you have a shin? Looks like you do. Jenny? Shins?<br>MARNIE: The word is "notion," Niley. Not "no" and "shin."  
>NILEY: I'm still confuzzled. You'll have to explain this to me later in greater debit.<p>

Marnie rolls her eyes. ANOTHER word she's saying wrong.

NILEY: Oh, and P.S., I'm sorry about caving your locker in last year.  
>MARNIE: THAT WAS YOU?<br>NILEY: I thought you knew? You were all up on Robbie and then it turned out you liked Roy and yeah, I feel bad. Never got a chance to say it though. So... sorry!  
>MARNIE: (sighs) No problem.<p>

Niley's head wobbles as she smiles at the both of them. They're both letting this sink in now... they're not gonna get rid of her any time soon.

"Street Lights" by Kanye West fades in... (youtube. com/watch?v=Vkioh25AoCU)

NILEY: (to Jenny) Please continue your story.

7.  
>INT. WOODSBORO HIGH - HALLWAYS - DAY<br>The song continues (0:12 - 0:27). School's out and the kids are exiting the school. Tess and Roy are hand in hand, making their way to Roy's car in the parking lot. They don't say a single word to each other... she waits by the passenger door and he enters into the driver seat. She waits another moment longer... suddenly hit by a sad realization in the moment... she looks down at the door handle... and opens the door herself.

INT. SIDNEY'S OFFICE - DAY  
>The song continues (0:28 - 0:49). Sidney watches pages after pages come out of her printer like a symphony of paper coming out in synchronized intervals. The last one spits out and she holds the pile in her hand. She flips through the pages and smiles.<p>

INT. WOODSBORO HIGH - HALLWAYS - DAY  
>The song continues (0:50 - 1:03). Olivia takes her books out of her locker. She looks in her mirror to check her hair... Trevor walks passed behind her and he catches her eye. He goes by and she watches him continue down the hallway... she smiles and goes back to the books in her locker.<p>

INT. CINEMA CLUB MEETING - DAY  
>The song continues (1:04 - 1:27). Robbie and Charlie enter the room - - it's full to the brim with people much to their surprise. Charlie damn near smiles and walks to the center of the room. Robbie smiles big, he's not afraid to show his glee. He looks towards the front of the room where Roy usually sits... and it's not him.<p>

ROBBIE: Welcome everyone to another year of Cinema Club.  
>CHARLIE: For those of you who don't know me, I'm Charlie Walker and this is Robbie Mercer.<p>

INT. WH - BATHROOM - DAY  
>The song continues (1:28 - 1:59). Kirby stands in front of the mirror and puts on a fresh coat of lip gloss. She stops for a moment and looks down at her hand... it's shaking. A spot of water falls on top of it and she looks back up - - tears are streaming down her face. She inititally resists the urge to continue to cry... then she rethinks it... and let's the tears come out. She holds her chest as if it's a painful feeling pressing down on her. She has a quick moment of worry flash in her eyes... but then... she smiles instead.<p>

INT. WOODSBORO HIGH - HALLWAYS - DAY  
>The song continues (2:00 - 2:22). Jill makes her way down the hall. Jenny, Marnie and Niley come in the opposite direction. Jill is shocked by what she sees... but she accepts it on those same terms. Jenny looks up and watches Jill pass by... Jill comes to the Cinema Club room and watches them continue out the front door. She enters the room.<p>

INT. HOSS'S CAR - DAY  
>The song continues (2:23 - 2:32). Hoss reads a magazine and looks out his window... Jill is staring him down as she passes by with Olivia and Kirby in the parking lot. He immediately feels uneasy and goes back to reading the magazine.<p>

EXT. PARKING LOT - DAY  
>The song continues (2:33 - 2:44). Jill, Olivia and Kirby make it to Kirby's car. They all begin to enter. Kirby opens the back seat for Jill so she can rest. Jill smiles at her in a "thank you" and Kirby smiles back.<p>

INT. ROBBIE'S ROOM - DAY  
>The song continues (2:45 - 2:59). Robbie throws his backpack down on his bed and makes his way to the window to look outside the window. He leans against the window... the house is being built at a fast pace and is near completion. He steps away from the window.<p>

INT. KIRBY'S CAR - DAY  
>The song continues (3:00 - to end). Jill sits in the back seat, thoughts racing through her head. She looks out the window and in half a second, she sees the most detrimental thing she'll ever see as it all plays out in slow motion... Trevor leans into Jenny's car door... and kisses her on the lips.<p>

FADE OUT.

CUT TO:  
>EXT. CHARLIE'S HOUSE - NIGHT<br>Charlie exits his front door in a haste. Jill stands there, completely distraught. He doesn't know what to do - - he's not used to trying to fix things like this. She slowly approaches him. He sits down at the edge of a step and she joins him, wiping her tears away. She has a million thoughts running through her head and Charlie can tell. He knows she's going to say something, whether it's something inappropriately creepy or unusually optimistic. He just wants her to be happy... but he can't find the right words to say to make that happen.

And the most unusual thing happened: instead of blurting out what she has on her mind, she simply just lays her head on his shoulder.

a) What was your favorite moment(s) from this episode?  
>b) Which character(s) had the best dialoguequotes this episode? And which pieces of dialogue in particular?  
>c) Did you like the song inclusion at the end?<br>d) Are the "previously on Woodsboro High" and "next time on Woodsboro High" missed? Or are they not necessary?  
>f) How's the season shaping up so far?<p>

**50 reviews**for episode 4, the two part Halloween special!

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	7. Marnie's Blog: Entry 178

(Protector91 lemme know that the wrong thing was posted earlier today! Sorry for that! Here's what was SUPPOSED to be here lol... and for everyone else who knew nothing about what happened prior... um... enjoy lol)

#178

[Sunday, October 31st, 2010]

Happy Halloween everyone! Phew, do I have some stories to tell you! My friend is being as empty headed as ever. The affair with some boy finally worked out for her since he finally broke up with his other girlfriend last month. I honestly never thought it would happen but alas, I was wrong. In a way, I'm happy for her - - for them. For the other girl though, I just hope she doesn't snap. She's always hated me and I've been a casualty to my friend's hatred for too long. Something tells me if she went nuts, I'd be the first to go. Haha, I'm just saying! But no, hopefully she really isn't THAT crazy.

Anywho, my friend and her new squeeze... well, or should I say old squeeze who she's finally made it official with? Eh, whatever. They're trying to keep it secret... STILL. After all this time, they STILL can't be together out in the open. She sure as hell does a lot of waiting around for this guy. I just hope he's worth it. Ugh, what am I saying? I know he won't be. He'll just break her heart. I don't know why she doesn't think he'll just do the same to her. So what was I saying again? Oh, back to how empty headed my friend is. So yeah, they're trying to keep it a secret yet they keep "accidentally" flaunting their love everywhere. I wouldn't be surprised if that girl sees them together. I hope they TRULY do wait to reveal it. For my friend's sake, for his and for mine. And really, for that girl's as well. I know what it's like to be heartbroken like that. I know she's an evil bitch who spat in my face once but seriously, nobody deserves that.

Well, I'm out for the night! Gonna go trick 'r treating. :) 3

5:18 PM


	8. Tumbling with Niley: Archive Oct 2010

Tumbling with Niley

Just watched The Nitemare Before Xmas and Im totes feeling Sally these dayz so guess who Im goin 2 b 4 Halloween? ! Her song iz what struck a chord w/ me. Im thinkin Marnie + I will go trick r treating sinc Jenny will be work! How much candy do you think Ill git? ;)

I sense there's something in the wind

That seems like tragedy's at hand

And though I'd like to stand by him

Can't shake this feeling that I have

The worst is just around the bend

And does he notice my feelings for him?

And will he see how much he means to me?

I think it's not to be

What will become of my dear friend?

Where will his actions lead us then?

Although I'd like to join the crowd

In their enthusiastic cloud

Try as I may, it doesn't last

And will we ever end up together?

No, I think not, it's never to become

For I am not the one

And will we ever end up together?

No, I think not, it's never to become

For I am not the one

**50 reviews **for episode 4, the two part Halloween special!

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	9. Episode 04: Pathetique: Part 1

304 - Pathetique - Part 1

1.  
>EXT. CEMETERY - DAY<br>CLOSING IN on a tombstone that reads NEIL PRESCOTT. A female set of legs come into frame... and then a familiar voice.

SIDNEY: Hey dad.

We swoop around and come to a CLOSE UP on our favorite heroine. She smiles and bends down to get closer to the tombstone. Behind Sidney is REBECCA WALTERS, a bit ancy and anxious to get out of here.

SIDNEY: (turns her head) Could I just have... ?  
>REBECCA: Oh, sure! Whatever you need. As long as it's quick! Remember, we have to be there - -<br>SIDNEY: I got it, Rebecca.  
>REBECCA: (sighs and tries to calmly walk back to the car) Okay. Graveyards creep me out anyway.<p>

Sidney turns back to her father's headstone. She wipes away a bit of dirt from the inside of the engraved letters.

SIDNEY: Aunt Kate not taking care of you or what? (beat) Kidding, ofcourse.

She looks back. Rebecca's gone. Sidney then sits completely down on the grave and looks forward - - almost with the same child like feeling of love she got before when he was alive.

SIDNEY: So how've you been, daddy? I'm good... didn't think I'd be back here so soon. Washington's great, by the way. Way different from California. Less polluted... less people... less metal and glass. (smiles) So I have a new book out. That's right, your little girl is an author now. Self-help... sorta. Non-fictional journey of Sidney Prescott. The un-Gale-Weather'd version of it. Or... non Gale Riley'd, whatever. And in no way shape or form able to become a movie, for God's sake.

Sidney takes a beat. She's tempted to let a tear come out, just for the sake of getting it out so it doesn't build up inside her... but she remains strong.

SIDNEY: So what's it like? (beat) Did you find mom? (half chuckles) I don't know if you even want to anymore but... I miss you guys. Together. Sunday mornings with Mickey Mouse shaped waffles and scrambled eggs. Well, hers were scrambled when she made them but you always made them sunny-side up. Hm... sunny-side up... that's a good way to look at things... kinda how I've been looking at things lately. Even here... which is odd. I thought this place would send me straight back to a therapist. But I get a good feeling here... and uh, no surprise, things between Mark and I didn't work out. We tried multiple times but... it's never gonna happen. Not anymore. But don't you worry, I'll find someone eventually. Give you grand kids.

And there it is... one single tear. She quickly wipes it away.

SIDNEY: Ah, I said I wasn't gonna do this. Just one tear, that's all I'm giving today. I know how you used to hate to see me cry. Anyway... my publicist is gonna have a grade A bitch fit if I don't make this book reading and signing so... I'll be back before I leave. Don't miss me too much. (beat) I love you, daddy.

She kisses her hand and places it on the headstone. She takes a moment just to let herself have a moment of mourning but she quickly zaps back out of it. She jumps back up on her feet and makes her way back to the car. Rebecca already has it running...

DOLLY AROUND to behind the tombstone as Sidney goes... it comes into view. LETTERS carved into the back. "SHE'S NEXT 4-15-11"

SMASH TO BLACK.

MAIN TITLES:  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

2.  
>FADE IN:<br>EXT. JILL'S STREET - DAY  
>TITLE CARD: HALLOWEEN 2010<br>A KNIFE PENETRATES into a pumpkin. "Mr. Sandman" begins to play as a kid grabs the pumpkin and runs off down the street. Early trick or treaters start their rounds, skipping around with their bags waving by in the air. This is a total postcard duplication of the opening to Halloween H20.

Olivia exits her front door and breathes in the Fall air. Kirby's car parks next to the curb - - a kid runs in front of her car and across the street. Kirby honks loudly and sticks her head out the window.

KIRBY: Watch where you're going, you little shi -

The kid's mother follows behind.

KIRBY: Shining - - angel, you!

INT. KIRBY'S CAR - CONT'D  
>Kirby quickly ducks back into the car and Olivia approaches the door.<p>

OLIVIA: I love Halloween.  
>KIRBY: Do you love masked men hiding in your closet?<br>OLIVIA: Michael Myers has never hid in a closet.

Kirby pauses... how the hell does she know that and not me?

KIRBY: Have you heard from Jill? I said I'd be outside at 5.  
>OLIVIA: Apparently (gasps) she doesn't wanna see a shitty movie! Who can blame her?<br>KIRBY: Fuck you, Stab isn't shitty. You just don't understand.  
>OLIVIA: Oh no, I totally get it. Bunch of twenty-somethings, sitting around and talking like witty hipsters that only exist on the CW and getting all referential and self-aware on slasher films. It's a totally, incapable concept to grasp, you're completely right.<br>KIRBY: They've stopped the "meta" bullshit a long time ago, okay? They jumped shark with the time travel thing and just went completely bonkers. It's dumb fun now. Lesbian heroines anyone?  
>OLIVIA: Eh, whatever, it's better than our other choice, Saw 7. Or Paranormal Whack-tivity 2. (beat) One thing I do look forward to in Stab 7 is Emma Stone. Glad she's back from Stab 5. She looked so hot making out with whats-her-face that can't act from the A Nightmare on Elm Street remake.<br>KIRBY: Rooney can act, did you see Social Network earlier this month?  
>OLIVIA: Who the fuck is Rooney?<br>KIRBY: That's her name. Rooney Mara. The lesbian chick from Stab 5 and Nancy in the Nightmare remake.  
>OLIVIA:... Rooney?<br>KIRBY: Or Patricia. Whichever.  
>OLIVIA: Why didn't you lead with that?<br>KIRBY: You didn't know who the fuck I was talking about anyway!

They both stop and look back at Jill's house.

OLIVIA: I don't think she's coming.  
>KIRBY: (beat) Would you ever kiss Emma Stone?<br>OLIVIA: Fuck yeeeeah.  
>KIRBY: Would you go full blown lesbian or just experimental bi?<br>OLIVIA: Mm. I don't know, if anyone were to eat me out, I suppose it should be Emma Stone.  
>KIRBY: What makes you think she'd be good at it?<br>OLIVIA: 99% of the guys who go down on me ain't good at it now, what difference would it make?  
>KIRBY: Good point.<br>OLIVIA: So you still fucking Topher or what?  
>KIRBY: Yes. Things would be better if he stopped being all weird and needy.<br>OLIVIA: I'm sorry.  
>KIRBY: Don't be. It's my fault for being a whore. And I continue to lead him on. Can't help it. It's one of my new faults.<br>OLIVIA: (beat) Sometimes it's one of mine too.  
>KIRBY: Mm? Who'd you accidentally sleep with recently?<br>OLIVIA: Not yet. Thinking about it.  
>KIRBY: You're thinking about purposely making an accidental sexual encounter happen?<br>OLIVIA: Hard work being a girl.  
>KIRBY: ... now I'm hoping there's more lesbian action in Stab 7.<br>OLIVIA: (sighs) You secretly trying to tell me something, Kirby?  
>KIRBY: I know where you're going with this.<br>OLIVIA: What?  
>KIRBY: Like everything, you're gonna try to make this about you and then assume that you're the girl I'm attracted to.<br>OLIVIA: I am the girl you're attracted to.  
>KIRBY: See.<br>OLIVIA: Seriously, can we fucking go already? This chick ain't coming.  
>KIRBY: I'm gonna go talk to her.<br>OLIVIA: What? C'mon.  
>KIRBY: A year and a half ago, Jill came to my door after Prichard died and asked if she could at all help. I denied her when really, I needed her more than anything. Trevor's not dead... but I'm hoping she's smart enough to take my offer.<p>

Kirby unbuckles her seat belt.

OLIVIA: We'll be late.

EXT. ROBERTS RESIDENCE - CONT'D  
>Kirby's already exited the vehicle and making her way to the front door.<p>

KIRBY: For the shitty movie you didn't wanna see?  
>OLIVIA: We might miss the lesbian parts! Anna Paquin and Kristen Bell are in this one! What if they get it on? What if there's a four way orgy with them two, Emma Stone and Rooney whatever-the-fuck-her-name-is!<p>

Kirby chuckles and knocks on the door. Kate immediately answers.

KATE: Oh, hi Kirby.  
>KIRBY: Hi Mrs. Roberts -<br>KATE: Ms.  
>KIRBY: Ms. Roberts. But, wouldn't you just go back to your maiden name if - - SORRY, not my place. Anyway... Jill's here right?<br>KATE: She's not feeling well. And it's a Sunday, she shouldn't going out on a school night.  
>KIRBY: A movie, maybe a party - where she'll be home by 10 PM. It's Halloween, Ms. Roberts. We're just going out for some good clean fun.<p>

Kirby smiles innocently. Olivia yells out behind her:

OLIVIA: I also heard Lucy Hale and Shanae Grimes are in it! That would be an unprecedented 6 women carpet munching fest!

Kirby slowly turns around and bunches up her face, giving Olivia an "I'm going to kill you" expression. Kate moves out of the way.

KATE: You can see her but I don't think she'll be willing. She's been in there all weekend.  
>KIRBY: Thanks.<p>

Kirby looks back at Olivia and gives her a "two minutes" signal. Olivia rolls her eyes and sits back in her seat.

3.  
>CUT TO:<br>INT. MARNIE'S HOUSE - DAY  
>Marnie sits at her computer in a Little Bo Peep outfit while she types away. She looks towards her bathroom door.<p>

MARNIE: What's taking you so long, Niley? Let's go.  
>NILEY: I'm almost done, I just gotta paint on this last stitch. Okay, I'm coming out.<p>

Niley exits the bathroom and Marnie presses send on her blogspot entry. She swirls in her chair towards Niley who's dressed as Sally from The Nightmare Before Christmas. Niley poses her best without falling.

NILEY: Ta-da!  
>MARNIE: Interesting. 'K, let's go, I wanna stop by the cinema first to make Jenny jealous.<br>NILEY: Jealous of what?  
>MARNIE: That she's working on Halloween and we're doing something totally awesome like trick or treat.<br>NILEY: We should see if she could get us into see Stab 7 for free!  
>MARNIE: I've never even seen the first 6.<br>NILEY: What? ! I remember sitting down and watching them all in a row with - - nevermind that. (beat) But seriously, after trick 'r treating, we should watch them.  
>MARNIE: I already planned to watch them during memorial week with Jenny since she's no longer "allowed" to attend Stab-A-Thon. I'm sorry.<br>NILEY: Can I come?  
>MARNIE: (smiles politely) I don't see why not. New buddy.<br>NILEY: Us being friends. Best idea ever. Right?  
>MARNIE: Totally.<p>

EXT. MARNIE'S FRONT YARD - CONT'D  
>Niley and Marnie throw their bags over the backs and begin walking down the street.<p>

NILEY: This is the first time it's ever been just us two.  
>MARNIE: Yup.<br>NILEY: Is it weird without Jenny?  
>MARNIE: No, ofcourse not. You're talkative. And silly.<p>

Niley smiles at the compliment but it fades... she looks at Marnie with a true sense of childlike wonder.

NILEY: Marnie. Can I ask you a question?  
>MARNIE: Sure.<br>NILEY: (innocently) Why don't you have any other friends?

Marnie stops, completely offended.

MARNIE: I have plenty of friends!  
>NILEY: Then why are you ONLY ever hanging out with me and Jenny? I don't see you talk to anyone, say "hi" to anyone or anything.<p>

Marnie sighs and they both start walking again.

MARNIE: Okay, I've had trouble making friends at WH since I mistakenly decided to befriend Jenny first, of all people. Just so happened to be during the time where she was still crushing on Trevor and I was crushing on Roy and then she crushed on Roy and we just kinda hit it off because we had a somewhat similar interest. Jill basically blacklisted her by talking shit behind her back that she's a man stealer so nobody wanted to talk to her, or us, I should say.  
>NILEY: Kinda sounds like you repent being friends with Jenny.<br>MARNIE: It's "resent." And... yeah, honestly, I kinda do. I mean, I love her to death but... being friends with her hasn't exactly been easy.  
>NILEY: And... you can't make any other friends because...?<br>MARNIE: My one and only flaw: I'm loyal. Don't get me wrong, we have fun and we gossip and all that but sometimes I just get so tired of her shit which is why you're a breath of fresh air. With her, I felt like a record player over and over again telling her the same things. "Don't mess around with Trevor behind Jill's back." "He's not a good guy." "She's gonna hate you."  
>NILEY: Wait... what do you mean don't mess around with Trevor behind Jill's back?<br>MARNIE: (sighs) Shit.  
>NILEY: What? I won't tell.<br>MARNIE: Promise?  
>NILEY: Friendship hook.<p>

Niley curls her finger outward and Marnie looks at it. She does the same and they link together - basically a pinky promise without using your pinky.

MARNIE: Okay... we've been keeping a secret from you.  
>NILEY: Well hot dog!<br>MARNIE: Jenny and Trevor have kinda been together for awhile now...  
>NILEY: How long's a while?<br>MARNIE: Prom.  
>NILEY: What? ! But he just broke up with her last month!<br>MARNIE: Exactly, which is why you can't say anything. (sighs) God, this feels so good to be able to talk to someone about this instead of having to live it or tell my Breckin friends over the computer.  
>NILEY: Your old town isn't too far, why don't you just go visit them?<br>MARNIE: Niley, we're walking to Woodsboro Plaza. Does it look like I have a car?  
>NILEY: True...<br>MARNIE: But you understand what I mean about Jenny though, right? We get along whenever it's NOT about Trevor. But I swear, sometimes it seems like it's ALWAYS about Trevor.  
>NILEY: Why don't you just tell her to "shut the fuck up" next time?<br>MARNIE: I'm not gonna say that.  
>NILEY: You'd be surprised how effective it is.<p>

EXT. WOODSBORO PLAZA - THEATER - DAY  
>Marnie and Niley make their way to the box office. Jenny sits at her stool and smiles at them from behind the glass. She puts on her headset and brings the mic to her mouth.<p>

JENNY: Hi!  
>MARNIE: Hey. 2 adults for "Working on Halloween Like a Loser."<br>NILEY: Oh wait, we're already watching that right now!  
>JENNY: Ah ha, very funny. I'm makin' money, whatcha guys know about that? OH, that's right, a lot since you're dressed like sluts for Halloween.<br>NILEY: What's slutty about Sally?  
>JENNY: Please, she would've hopped Jack's bones in an instant.<p>

A couple approach the box office.

JENNY: Oh, watch out.

Niley and Marnie step out of the way as the couple get their tickets then step back in once they're gone.

NILEY: So what are you doing after?  
>JENNY: I have a... date.<br>NILEY: Oh, with Trevor?

Marnie slaps Niley's arm.

MARNIE: Friendship hook!  
>NILEY: Ah Snapple, I'm sorry!<br>JENNY: What the crap, Marnie?  
>MARNIE: She... she... she pressured me. She knew anyway.<br>JENNY: Anyway... we're gonna watch Stab 7.  
>NILEY: For free?<p>

Jenny nods.

NILEY: (slaps Marnie's arm) I fucking told you!  
>MARNIE: Sorry!<p>

4.  
>CUT TO:<br>INT. WOODSBORO HIGH - GYM - DAY  
>Roy hangs up a banner above the entrance of the gym that reads, "Halloween Marathon." He steps down from the ladder and looks up at it. He turns around - FREDDY stands behind him. Roy startles back and bumps into the ladder.<p>

ROY: Dammit, Freddy!  
>FREDDY: Sorry.<br>ROY: And what the hell, you can't even wear something different on Halloween? You gotta Krueger yourself up 365 days a year? I've never asked, but you have DIFFERENT sets of costumes right? You're not just wearing the same one everyday?  
>FREDDY: We really should be checking up on the kids on Elm Street instead of the kids in Haddonfield, Roy!<br>ROY: Declare a Nightmare day and we will. But today's Halloween so Laurie Strode and Loomis, for the win.  
>FREDDY: Argh!<br>ROY: Don't you pirate talk me, go get me the tape. And take off that glove!

Freddy runs off and Roy looks back up at the banner. He turns around again - - ESLINE stands in front of him with a clipboard. Roy, once again, startles back.

ROY: Why is this happening? !  
>ESLINE: Sorry, Roy. (holds up the clipboard) I did everything on the checklist.<br>ROY: Good, let me take a look.

She hands it over and Roy looks down, checking each thing is checked off. He looks back up momentarily and notices Esline is doing her absolute best not to make any eye contact with him.

ROY: Uh... here. It looks good.

She quickly snaps it away and walks off.

ESLINE: Thanks.

Robbie approaches Roy from behind.

ROBBIE: That was weird.  
>ROY: Tell me about it.<br>ROBBIE: Tess isn't coming?  
>ROY: Tess isn't keen to the whole Cinema Club thing, Robbie, you know that.<p>

Roy and Robbie begin walking around the gym checking up misc. things to make sure everything is ready.

ROBBIE: I thought she'd make an exception for Halloween since you'll be here.  
>ROY: Actually, I won't. Once everything is set up, I'm jetting off.<br>ROBBIE: What? Why? I get you back for a week or two and you barely participate!  
>ROY: Like I said, not keen. It's causing all sorts of trouble between us.<br>ROBBIE: Okay, I have to ask - - what the hell is it you two fight about all the time anyway?  
>ROY: We don't fight about anything?<br>ROBBIE: Uh, does this ring any bells?

Robbie practically dances around like a monkey with his arm movements flailing in the air while doing wild lip movements of over exaggerated yelling.

ROY: Stop it, you look stupid.  
>ROBBIE: Says the guy denying fights but admitting there's trouble in graceland.<br>ROY: We fight, like every couple.  
>ROBBIE: And hence the question, about WHAT?<br>ROY: Everyday couple stuff.  
>ROBBIE: That makes you miss out on things you love like Cinema Club?<br>ROY: Okay Robbie, what did you and Niley fight about? Please share.  
>ROBBIE: I'll admit it: Solai.<br>ROY: Just Solai?  
>ROBBIE: I'm a man and I made a mistake.<br>ROY: Hardly.  
>ROBBIE: Well have you heard anything different?<br>ROY: Nope but I have a sneaky suspicion.  
>ROBBIE: Caused by what?<p>

Roy stops in the middle of the gym floor and dances around in the exact same way Robbie did last year at the pep rally.

ROBBIE: Okay, now you need to stop it, YOU look stupid.  
>ROY: That was all you, buddy. And you meant it, I saw it in your eyes.<br>ROBBIE: I like to dance. Is that a crime?  
>ROY: If you live in the town from Footloose, yes.<br>ROBBIE: Well this is Woodsboro in the 21st century and it's perfectly acceptable for a male to join dance.  
>ROY: I'm not stereotyping you, Robbie, I'm just saying it's one of the many things that make me believe what I believe.<br>ROBBIE: Here's a thought: just tell me what it is you believe straight out?  
>ROY: You're a crossdresser.<br>ROBBIE: (beat) Come again.  
>ROY: Those little tights. That feminine dance. Your hair.<br>ROBBIE: What's wrong with my hair?  
>ROY: You may be a man but sometimes you get a little Wong Fu. Admit it. Niley wasn't down for that crap but Solai was. Makes perfect sense to me.<br>ROBBIE: That is just insane!  
>ROY: Well I can't think of any other explanation for the things you like to do.<br>ROBBIE: I like to dance! And it wasn't feminine, you can't genderize art.  
>ROY: Mm.<br>ROBBIE: Back to you and this Tess thing now that we've fully explored my apparent drag queen hobbies.  
>ROY: Okay, you really wanna know?<br>ROBBIE: Yes.

5.  
>CUT TO:<br>INT. JILL'S ROOM - DAY  
>Jill opens the door to Kirby and Jill immediately sits onto her bed, snuggled up to her blanket. The TV's on... but it's just snow. Kirby looks across the room and it's a hazard area. She throws off some clothes from a chair and sits down.<p>

KIRBY: So... Stab 7? Secretly behind your mom's back? It'll be fun!  
>JILL: No, I'm not in the mood.<br>KIRBY: (beat) So what's going on?  
>JILL: I saw something the other day.<br>KIRBY: The Trevor and Jenny thing?  
>JILL: No, that was awhile ago, this was the other day.<br>KIRBY: About that, you sure you weren't seeing things? I haven't seen anything go on between them.  
>JILL: Trevor's a masterful liar, manipulator and con-man. He'll make you believe anything if he wants you to.<br>KIRBY: But they would be caught at least once by somebody, right?  
>JILL: And I did.<br>KIRBY: But how sure are you? We were in a car, it was moving, you were distraught... remember when you thought Patrick and Jenny were a thing?  
>JILL: They were a thing.<br>KIRBY: No, he wanted her and so it seemed like a thing. Maybe your mind is just playing tricks on you again.  
>JILL: I'm not crazy, Kirby. I know what I saw.<br>KIRBY: Okay, fine. So what'd you see the other day that has you up her like Howard fucking Hughes?  
>JILL: (leans forward) It's more of a story but...<p>

CUT TO:  
>EXT. WOODSBORO PLAZA - THEATER - DAY<br>Jenny finishes giving another group of people tickets. Marnie and Niley step back in.

JENNY: Speaking of Trevor though, something weird happened the other day.

Niley nudges Marnie.

MARNIE: No, she said it was something weird, so I'm actually kinda interested what she has to say.  
>NILEY: Oh, okay.<br>JENNY: What was that? You guys making code signals together while I'm gone?  
>NILEY: (stoner laugh) Maybe.<br>JENNY: Whatever, so anyway...

CUT TO:  
>INT. WOODSBORO HIGH - GYM - DAY<br>Roy and Robbie are still checking on the things around the gym.

ROY: Do you want a prime example or just a generalization?  
>ROBBIE: Let's go with a prime example. When was your last fight about Cinema Club? Blow by blow, give me the details.<br>ROY: It was... just this Friday.  
>ROBBIE: Okay...<br>ROY: Okay...

CLOSE UP ON ALL THE CHARACTERS IN THEIR RESPECTIVE LOCATIONS:  
>JILL, JENNY, ROY: This is what happened on Friday.<p>

a) What was your favorite moment from this episode?  
>b) Which character had the best dialoguequotes this episode? And which pieces of dialogue in particular?  
>c) Which "long conversation" did you enjoy the most: Sidney's, Kirby and Olivia's, Niley and Marnie's or Robbie and Roy's? And why?<p>

**61 Reviews** for Part 2!

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	10. Episode 05: Pathetique: Part 2

_[A/N: Sorry there's no opening puzzle piece for this episode as this is technically just a continuation of the last episode. Part 2 of the season premiere had one because I wanted you guys to get used to the new format. Anywho, no worries, there's plenty more to come anyway!]_

1.  
>TITLE CARD: FRIDAY<br>EXT. WOODSBORO HIGH - QUAD - DAY  
>Lunch is in full swing as the students make their way through the crowds joining their friends for social hour. In the midst of them is SHERIFF DEWEY RILEY and DEPUTY PERKINS making their regular patrol near the parking lot.<p>

A LARGE VAN pulls into the lot and both their heads twist to see what it is. Dewey sighs... he knows this isn't gonna be good. On the side of the van reads WINDSOR COUNTY POLICE. The van parks and outcomes DETECTIVE PANAMA, a large mustached douchebag if there ever was one.

PANAMA: Dewey.  
>DEWEY: That's Dwight. Sheriff Riley as a matter of fact.<br>PANAMA: Ah, ofcourse.  
>DEWEY: What are you doing in my neck of the woods, Panama?<br>PANAMA: Oh, you know. Ususal shit with more teens from your area dying in my county. It's funny, how Woodsboro has pretty much 0 homicides over the last decade yet the majority of the ones in my county were all caused by people who live here.

Dewey looks at Perkins and Perkins half laughs at how silly this guy sounds.

PANAMA: What the hell is so funny?  
>PERKINS: That damn mustache, I'm tellin' you.<br>PANAMA: It's not a joke! You're ruining Windsor's name!  
>DEWEY: If you haven't noticed, Woodsboro's names been tainted enough as it is.<br>PANAMA: And the Windsor College Massacre just... so happened to be on Woodsboro grounds too or does that not count?  
>DEWEY: Eh, they weren't teens. Less of a big deal on your part.<br>PANAMA: You listen to me... get these kids in check before you have another Woodsboro Massacre on your hands. And God dammit, make sure they stay out of MY county!  
>DEWEY: So what new murder happened over in Windsor anyway that has you over here? There's been no losses lately. Been nice and quiet... just as we like it.<br>PANAMA: Nothing new, we just have to talk to Mr. Leeds for new details on that poor girl killing Katherine Maleficent and then herself on the old Penciatti Hotel property. Ya know... ANOTHER place where your dumb teens were slaughtered and were responsible for in another massacre. Including your own sheriff, now THAT'S new. We should've known better than to ask for your help on that one.  
>DEWEY: You keep Burke's name out of this!<br>PANAMA: Just stating the facts... Dewey.

Panama oozes his way around Dewey and Perkins and onto the campus. Dewey grits his teeth...

DEWEY: I hate that guy.

To the side of them, Trevor picks a rose from the garden and he makes his way further onto campus. Jenny, Niley and Marnie sit in the corner with their lunch as Niley and Marnie talk away... Jenny watches Trevor from afar...

CUT TO:  
>THE FOUNTAIN<br>Jill and Olivia both eat their sandwiches as they wait for the rest of the group to come over. Jill notices Trevor making his way into the hallways towards the lockers. She squints, noticing he's alone. She jumps up and throws her sandwich onto Olivia.

OLIVIA: Hey, you got jelly on me! (waits) Jill, where you going? Jill!

Jill continues on forward, not looking back following behind Trevor.

OLIVIA: Now I'm a loner, great.

Niley quickly sits down at the fountain next to Olivia.

NILEY: I just wanted to say "hi" while you were alone.  
>OLIVIA: You done hanging with short meat and Jenny McSlut?<br>NILEY: Do you even know them? Why would you say things like that? They're nice.  
>OLIVIA: Whateverrrrr.<p>

Niley watches Olivia a bit longer... she comes to the sad realization...

NILEY: I just realized that you're not all that nice.  
>OLIVIA: Oh, thanks! I'll remember that the next time Robbie runs off with another dance bimbo to a cabin in the woods and I bring you company.<br>NILEY: Funny thing about that is... that can't ever happen again because you didn't let me call him that night.  
>OLIVIA: So you're blaming me now?<br>NILEY: I had a gut feeling and you didn't listen to me.  
>OLIVIA: You were burning down houses, why would I have listened to you back than? !<br>NILEY: And it turned out I was right about that too!  
>OLIVIA: (beat) Besides the point. And why are we pretending as if the Robbie being gay thing isn't real? Both you and I know the truth about that. So you could've stopped Robbie from cheating on you but you would've never stopped him from liking GUYS.<br>NILEY: Whatever, Olivia.

Robbie and Charlie make their way over to the fountain. Niley jumps up and runs off with her head down as if it would make her invisible or something.

2.  
>CUT TO:<br>INT. WOODSBORO HIGH - HALLWAYS - SIMULTANEOUSLY  
>"Pathetique" by Beethoven begins. Jill slowly follows behind Trevor, sneaking from onside of the hall to another behind lockers. She notices he has a ROSE in his back pocket. He finally stops and turns to a locker and Jill ducks down behind a trash can. She pokes her head out, watching his every move.<p>

He slides the rose out and places it in an air slot of the locker's door. He smiles and walks back down the hallway from where he came. Jill ducks back and he passes by the trash can - - she goes by unnoticed. She watches him turn out of the hall and she jumps up to make her way to the locker.

JILL: (muttering to herself) That's not Jenny's locker...

She comes face to face with the locker and looks at it. She thinks long and hard... who does this locker belong to? Fuck thinking, she makes her way to the custodial closet and takes down a tool set. She finds pliers and returns back to the locker.

She twists around to make sure nobody is coming and takes the pliers to the lock, prying it open. It makes a loud POP that echos down the hall - - nobody's around to hear it though. She opens the locker - - it's empty.

JILL: What the hell?

Jenny watches from around the corner looking on at Jill. Once she too sees the locker is empty, she backs off before Jill can see her and makes her way back to the outside quad.

Jill leans against the set of lockers and drops the pliers. She covers her face...

JILL: What are you doing, Jill? (beat) Just... talk to him.

She breathes heavy and slides down so her head's in between her knees.

IN ANOTHER HALLWAY  
>The song continues. Jenny follows behind Trevor and she catches up with him.<p>

JENNY: Hey.  
>TREVOR: Heeyyyy, what are you doing?<br>JENNY: What was that?  
>TREVOR: Was what?<br>JENNY: The rose thing?  
>TREVOR: You were following me?<br>JENNY: I was following Jill follow you. (beat) What was that?  
>TREVOR: I'll tell you after school, we can't be seen together.<br>JENNY: Just... tell me now.  
>TREVOR: Every month... I leave a rose at Chelsea's old locker.<br>JENNY: Chelsea? You didn't even know her.  
>TREVOR: I know.<br>JENNY: ... that's weird.  
>TREVOR: I know.<br>JENNY: So... why?  
>TREVOR: People are just complex in that way, Jenny. They do things that sometimes even themselves can't explain.<br>JENNY: (smiles) Well where's my rose?

He points to his heart.

TREVOR: Right here.  
>JENNY: ... that's cheesy.<br>TREVOR: You love it.  
>JENNY: (smiles) Kind of.<br>TREVOR: 'k, we should split.

Trevor ducks off and Jenny smiles as he goes. Jenny turns around and practically skips out the building. Trevor turns around the corner - - HE RUNS INTO JILL.

JILL: Hi Trevor.  
>TREVOR: Hi - - Jill.<br>JILL: I know we haven't... talked in awhile. Well... since the break up. And um... I just wanted some clarification.  
>TREVOR: What do you wanna know?<br>JILL: ... why did you leave me?  
>TREVOR: I told you, it wasn't working for me.<br>JILL: But why not?  
>TREVOR: (sighs) Things were... getting stale. Ya know? Routine. One day, I was happy and then the next... I felt like I saw our entire life... and there was no change. It scared the hell out of me.<br>JILL: You think maybe because you've "foreseen" what's to come that there couldn't possibly be any surprises left. Well let me tell you... YOU'VE SEEN NOTHING YET.

The soundtrack THUDS. Jill stares him down and walks backwards, leaving him behind with a quizzical look on his face. She turns around towards the door, fuming.

3.  
>CUT TO:<br>EXT. PARKING LOT - SIMULTANEOUS  
>The song continues. Roy parks his car into a stall and stops. Tess sits in the passenger seat, staring out the window with an emotionless expression. Roy turns to her and turns off the car.<p>

ROY: What's wrong?  
>TESS: I don't know how many times I have to tell you.<br>ROY: Look... I know you're... insecure because of your last boyfriends but Tess, I'm a different person.  
>TESS: You think I don't know that? You think I LIKE having these feelings? Every time you leave somewhere, I get this acid like feeling in the pit of my stomach. I want to change. I want to trust you. But I can't. Maybe I jumped into a relationship too soon, maybe I need more time to grow back into the real me.<br>ROY: Look... I don't care what's wrong with you. I'm sticking by your side. That's what couples do when they go through a rough patch.  
>TESS: It's not a rough patch, it's an entire bush full of thorns. We've never been happy because I won't allow myself to be in the equation of us. They say accepting your problem is the first step to fixing it but... that's not true. It's the first step to realizing how horrible a person you are and seeing you can't change and it just makes you an even worse person because then you know you're doing something wrong and you kinda just don't care. I care but I can't FIX THIS thing about me no matter how hard I try. I don't wanna hurt you, Roy...<p>

Tess tears up and Roy's cheeks plump up as she looks out the window. She begins to sniffle as the tears flow and she looks back at Roy.

TESS: I'm sick of myself. Why aren't you sick of me too?  
>ROY: Because I have faith.<p>

Tess leans over and places her head on Roy's shoulder.

TESS: So you'll stop going to Cinema Club meetings?  
>ROY: (sighs) Yeah.<br>TESS: Good. I don't trust that Esline girl...

Roy closes his eyes realizing how odd it is that this girl has a fully self-realization moment but then within the matter of 30 seconds can say the thing she hates herself for.

ROY: Okay but on Sunday, we're doing the Halloween festival and I said I was gonna help.  
>TESS: What?<br>ROY: Yeah, I mean... I always do.  
>TESS: (sits back up) But you said you'll stop going.<br>ROY: I... promised, babe. And then the radio gig starts in November... I'm always gonna have to be somewhere. Maybe what I need to do is... go anyway and make you suffer through it. Maybe you'll get used to the suffering?

He smiles as if that would be funny to her...

TESS: Get used... to the suffering?  
>ROY: Wrong choice of words.<br>TESS: (beat) Maybe you're right...  
>ROY: How about this? We work our way up to it. It starts off with me being gone for only a little bit. And then half the time. And then full time. By than, you'll have warmed up to the idea.<br>TESS: And you won't flirt with the other girls?  
>ROY: Tess... I'm with you. Nobody else. You're all I need.<br>TESS: Not even Kirby?

Roy pauses for a moment... and then a moment too long.

ROY: No, not even... Kirby.  
>TESS: Why did it... why did it take you so long to answer?<br>ROY: Tess, c'mon, I can't reply back quickly every time!  
>TESS: Do you like her, Roy?<br>ROY: No.  
>TESS: Do you LOVE HER?<br>ROY: Ofcourse not!  
>TESS: You want her instead of me, DON'T YOU?<br>ROY: Tess, just - - shut up, listen to yourself!  
>TESS: First Esline and now Kirby, Roy? Seriously? !<br>ROY: Oh, my God. You're insane.  
>TESS: No shit.<br>ROY: So stop!  
>TESS: Admit you love them!<br>ROY: I don't!  
>TESS: You wanna fuck them!<br>ROY: Jesus...  
>TESS: You wanna fuck every girl, don't you? ! Because I'm hideous, I'm fat and emotionally UNSTABLE!<br>ROY: Hideous? Fat? You fucking kidding me?  
>TESS: You didn't deny the last one!<br>ROY: ... no shit.  
>TESS: Whatever. Take me home.<br>ROY: I can't, I'll be late for 5th period.  
>TESS: TAKE ME HOME, ROY.<br>ROY: Tess, just calm the fuck down for a second!  
>TESS: Take me home! (PUNCHES THE DASHBOARD) Take me HOME!<p>

Roy's eyes go wide... Tess heaves.

TESS: You're with me out of charity. Or because you don't wanna be alone. Nobody could ever wanna be with me...  
>ROY: I'm with you because I think despite all this insanity that when we're not fighting, you're actually a caring, funny and charming person. Have you kept taking your medication?<br>TESS: I'm not bi-polar, I don't care what the doctor says. That's there answer for everything, "here's some meds, here's some meds."  
>ROY: Then what, you're just... (smiles) passionate?<br>TESS: Perhaps, doesn't make me CRAZY though, for Christ's sake.

She giggles and Roy smiles now that she's lightening up.

ROY: 'k, let's go.

Roy exits the car and Tess follows after him as she wipes her face off from all the tears. He waits as she comes around and he throws his arm around her. She clutches his hand on her shoulder and she smiles as they continue towards campus... and the song fades out.

CUT TO:  
>INT. WOODSBORO HIGH - GYM - BACK TO HALLOWEEN<br>Robbie watches completely in shock at Roy's story.

ROY: It's my biggest fault, Robbie... I'm a hero. (beat, sighs) I wanna be the one to save her... and I can't back down from that now... no matter her mind state. I can fix it. (nods) I can fix it.  
>ROBBIE: Roy... sometimes the best thing you can do to save someone... no matter how much it hurts them... is to let them go.<p>

4.  
>CUT TO:<br>INT. JILL'S ROOM - SIMULTANEOUS  
>In perfect juxtaposition to that, Jill sits there in a morose mess.<p>

KIRBY: So you're staying inside because you threatened Trevor?  
>JILL: I didn't threaten him!<br>KIRBY: Sounded like a threat.  
>JILL: No, I... okay, sure, it sounds like a threat but I just wanted him to know what he was missing.<br>KIRBY: Jill... Trevor is a dumbass and he what know what he's missing... move on.  
>JILL: I'm embarrassed. I put myself out there and I made a fool out of myself. People must think I'm stupid.<br>KIRBY: What does it matter what people think?  
>JILL: Because people are what make the world go round, Kirby. If they think negatively of you... or don't think about you at all... you might as well stopping living. Because what other purpose do you have?<br>KIRBY: Jill - -  
>JILL: I've been thinking about what you said. About Chelsea and all that. About being desensitized or whatever.<br>KIRBY: And?  
>JILL: She was one of our best friends. Before Olivia came into the picture again. She stuck her neck out for us. Got me thinking that I don't feel enough lately.<br>KIRBY: YOU don't FEEL? Wow, that's a joke.  
>JILL: I'm serious, Kirby, I've done things where I was just thoughtless. Or maybe I was thinking so much that my thoughts turned into actions. Either way... it was the wrong thing to do. No... no, it was definitely the right thing to do.<br>KIRBY: Did you steal from the ice cream man again? I told him not to jack up those prices.  
>JILL: (sighs and turns away) Forget it.<br>KIRBY: (chuckles) Ok, seriously, c'mon, what'd you do?

Kirby stops for a moment and just focuses on Jill. Jill's eyes shift back towards Kirby, looking down at her.

JILL: I killed someone.  
>KIRBY: In a dream?<br>JILL: No, in real life. 5 people.  
>KIRBY: (smiles) You killed 5 whole people? All by yourself?<br>JILL: With a knife. And fire.  
>KIRBY: And fire. Okay, maybe you should stay home today, you're talking crazy.<br>JILL: Kirby, what if I was telling the truth?  
>KIRBY: You're not.<br>JILL: What if I was?  
>KIRBY: (beat) Then you'd still be my friend. Fuck it, I'd hide those bodies for you. (smiles) 'K?<br>JILL: (a tear falls from her cheek) You're too good to me.  
>KIRBY: You're my girl. I'm your partner in your crime.<br>JILL: Too bad you're joking.  
>KIRBY: (beat) I'll see ya, Jill. I gotta go now. But text me if you need me tonight.<p>

Kirby stands up to leave.

JILL: Kirby.  
>KIRBY: Huh?<br>JILL: Before Chelsea killed herself... do you remember ever hearing anything about her being... a "baby killer?"  
>KIRBY: I heard whispers and rumors. Ofcourse I never listened, I didn't wanna hear that bullshit.<br>JILL: Did you ever hear... Olivia say it?  
>KIRBY: Probably. Why?<br>JILL: It's just I had this funny memory... that Olivia started that rumor.  
>KIRBY: Fucked up rumor but knowing Olivia... That's old news though, we can't judge her for it still.<br>JILL: Sure we can.  
>KIRBY: Okay Jill, we'll take her to teen rumor court and we'll sort that out. Prior to the proceedings though, we're gonna go see Stab 7.<br>JILL: (blank) Have fun.

Kirby exits.

JILL: (mumbles to herself) Olivia starts rumor. Chelsea kills herself because of rumor. Olivia killed Chelsea...

CUT TO:  
>EXT. WOODSBORO PLAZA - THEATER - DAY<br>Jenny stands there looking at Marnie and Niley who don't seem at all impressed by the story.

JENNY: So that's weird, right?  
>MARNIE: (monotonous) So weird.<br>JENNY: Well I think it's weird.  
>NILEY: I think it's weird that you think it's weird when it's not weird, maybe you're just weird for thinking it's weird. Isn't that weird?<p>

There's silence among them.

MARNIE: That was too much, Niley. Subtlety next time.  
>NILEY: Darnnnn.<br>MARNIE: We gotta go, see ya Jenny.  
>JENNY: See ya guys. Bring me some candy.<br>NILEY: Get cho own!

5.  
>CUT TO:<br>INT. WOODSBORO HIGH - GYM - NIGHT  
>As the night has fallen, kids make their way into the dim lit gym to watch John Carpenter's Halloween. Charlie stands at the door welcoming everyone in.<p>

CHARLIE: Hey... Hello... Hi... Welcome... Enjoy... Nice costume.

Robbie returns from the parking lot and enters through the line. Charlie watches him... noticing Robbie's arms are stuck to his face.

CHARLIE: What is this?  
>ROBBIE: My costume. Had to glue my hands to my face.<br>CHARLIE: I don't... get it.  
>ROBBIE: Ya know. (opens his mouth like he's screaming) Right?<p>

Charlie just shakes his head... he's completely befuddled.

ROBBIE: Home Alone, man!  
>CHARLIE: What?<br>ROBBIE: "Keep the change, you filthy animal!" Right?  
>CHARLIE: I don't know what you're talking about.<br>ROBBIE: You've never seen Home Alone? !  
>CHARLIE: ... wasn't aware of such a movie.<br>ROBBIE: Huh. Weird. Anyway, see you inside.

CUT TO:  
>INT. WOODSBORO HIGH - THEATER - NIGHT<br>Jenny turns off the lights in the box office and puts up the closed sign. She sighs and looks at her phone. She then dials and waits. Voicemail.

JENNY: Hey Trevor, um... you said we'd catch the last showing of Stab 7 but uh... apparently you're too busy doing something else, so... bye.

She hangs up and makes her way out of the box office. Outside, she keeps walking to her car and dials another number. Again, voicemail.

JENNY: Hey Marnie, just wanted to see where you guys were at. If I can't catch ya than I'll just go to the Halloween Festival. Anyway, hit me back.

Jenny hangs up and continues forward.

CUT TO:  
>INT. JILL'S ROOM - NIGHT<br>Jill looks at her laptop, staring at Trevor's facebook pages. He hasn't been updating lately... she looks in his friends column... Jenny is listed, but only as a friend. She clicks her page. Her status from 5 minutes ago reads: Heading to the Halloween Festival. My date ditched me :-/

CUT TO:  
>INT. COSTUME STORE - NIGHT<br>Jill makes her way in and the store is completely empty. The cashier counts the money from the register.

CASHIER: We're about to close.  
>JILL: I just need one thing.<br>CASHIER: Good luck finding it.

Jill makes her way through the aisles and then stops, staring on - - a GHOSTFACE COSTUME sits on the shelf in full stock. She grabs one and makes her way back to the counter.

CASHIER: Ah, Ghostface. Classic. Usually only sells during April for pranks and what not so we actually have a good discount on it for Halloween.  
>JILL: I came at the perfect time than.<br>CASHIER: (hands her a card) You also get a code for a free download of the voice app.  
>JILL: (looks at it) Really?<br>CASHIER: Yeah. So what are your plans tonight?  
>JILL: (downloading the app) Halloween Festival at Woodsboro High.<br>CASHIER: (chuckles) You're not gonna get in there with this costume. You kidding me? That's practically offensive...  
>JILL: Says the guy who sells it for cheap and ups the price when it's in demand for Memorial Week in April. (talks into the phone and it emits THE VOICE) Included with a free app.<p>

6.  
>CUT TO:<br>INT. WOODSBORO HIGH - GYM - NIGHT  
>Freddy now stands at the door letting people in. He notices GHOSTFACE walking straight for him. He holds up his glove-hand.<p>

FREDDY: Excuse me, but that's not allowed on this campus.

Ghostface lifts up the mask to reveal Jill, smiling sweetly.

JILL: C'mon Freddy. I'm harmless.  
>FREDDY: I could get in trouble for letting you in.<br>JILL: I'll take off the mask than.  
>FREDDY: (sighs) Okay.<p>

Jill makes her way into the room... and slips the mask back on.

JILL: Suckerrr.

Halloween 3: Season of the Witch plays on the screen as the kids watch on the bleachers. The kids boo and throw popcorn at the screen.

ROBBIE: Please don't throw popcorn, I'll have to clean it up!

Jill continues and heads under the bleachers, slowly making her way through. She looks up through the cracks beneath their feet and up at the faces sitting there. She then stops... underneath Jenny... and watches her.

Jenny's phone rings and she answers it. We can't hear the conversation from where Jill is. Jenny then stands up and makes her way down the steps of the bleachers and out the building... Jill slowly follows behind.

CUT TO:  
>EXT. JENNY'S HOUSE - NIGHT<br>Jenny walks down the street towards her house among the late trick 'r treaters. Jill blends perfectly right in not to be seen. Jenny goes up her walkway and enters her house. Jill stops and looks onward at the house. She then proceeds forward.

INT. JENNY'S LIVING ROOM - CONT'D  
>Jenny throws down her purse and moves across the rooms, turning on the lights. THE DOORBELL RINGS. She spins around and walks back to the door and opens it to reveal GHOSTFACE (Jill) standing there. Jenny laughs and steps back to a bowl of candy with a note her parents left there in the event she comes home.<p>

JENNY: Cute. Ghostface.

Ghostface remains silent. Jenny returns with the bowl and looks down.

JENNY: Where's your bag?

NO RESPONSE.

JENNY: And aren't you gonna say "trick or treat?"

NO RESPONSE. Ghostface stares coldly forward. Jenny starts to get uneasy.

JENNY: Okay Casper, that's a wrap.

Jenny closes the door - - GHOSTFACE SLAMS THEIR HAND ON THE DOOR... and slowly holds out their hand. Jenny grabs a handful of the candy and slams it in their hand so they'll leave. Ghostface remains motionless... AND SPINS AROUND back down the walk way.

JENNY: What the hell?

Jenny closes the door and puts down the bowl. HER PHONE RINGS. It startles her and she jumps back, screaming. She then laughs, realizing how stupid it was. She answers the private number.

JENNY: Hello?  
>GHOSTFACE: I think it's time we get reacquainted with each other, what do you think?<p>

THE LIGHTS GO OUT.

JENNY: Who is this? Did you just turn off my lights? !  
>GHOSTFACE: Maybe.<br>JENNY: Was this the freak at the door a second ago?  
>GHOSTFACE: Maybe.<br>JENNY: Look asshole, you have 2 seconds to turn back on my lights or I'm calling the cops!  
>GHOSTFACE: On Halloween night? They'll never make it in time.<br>JENNY: Your funeral.  
>GHOSTFACE: No Jenny, I'm afraid, it's YOURS.<p>

THERE'S A THUD FROM ANOTHER ROOM. Jenny spins around and grabs the firepoker, MARCHING TO THE OTHER ROOM. She enters, ready to swing.

JENNY: Where are you?  
>GHOSTFACE: Guess.<p>

GHOSTFACE'S CAPE FLOATS BEHIND JENNY DOWN THE HALL AS IT RUSHES INTO ANOTHER ROOM IN COMPLETE SILENCE.

JENNY: I'm not playing your stupid Casey Becker rehash game, okay, you unoriginal bastard? This is over!  
>GHOSTFACE: You're not gonna threaten to get your jock boyfriend on me?<br>JENNY: I don't have a boyfriend.  
>GHOSTFACE: You don't?<br>JENNY: NO.  
>GHOSTFACE: Why not?<br>JENNY: I'm calling the cops now.

There's a knock at the door. Jenny runs back to the door, firepoker in hand. She bursts open the door and gets ready to SWING. Niley and Marnie jump back frightened.

NILEY: What the hell are you doing?

Jenny looks at her phone - - the phone call's ended.

MARNIE: Jenny?  
>JENNY: You guys see Ghostface around here anywhere?<br>NILEY: Uh... no.  
>JENNY: (sighs) Come in.<p>

They enter.

MARNIE: It's probably someone just messing with you.

Niley empties her bag of candy on the floor and drops to her knees to look at it all.

JENNY: Some freak came to the door and then I got a Ghostface call.  
>MARNIE: It was probably Trevor.<p>

Jenny smacks the phone against her head embarrassed.

JENNY: That makes sense now with the boyfriend question and why he never answered his phone earlier.  
>MARNIE: See.<p>

Marnie joins Niley and dumps out her own candy. Jenny stays up and looks out the window. JILL, out of costume, stares at her from across the street. Jenny squints to make sure she's not seeing things and opens the door again to get a closer look - - she's gone.

MARNIE: Jenny, we got your favorite! Tootsie Rolls!  
>JENNY: (beat then closes the door) Oh... cool.<p>

She turns back to look out the window. She dials Trevor's number now - - he answers.

TREVOR: Hello?  
>JENNY: Very clever, Trevor.<br>TREVOR: What?  
>JENNY: Oh, we're not gonna play that game now. Just know... I'm gonna get you back.<br>TREVOR: For what?  
>JENNY: Bye bye now.<p>

Jenny hangs up and she joins the candy pile on the ground.

EXT. CEMETERY - CONT'D  
>Trevor hangs up the phone and puts it back in his pocket. He looks back up... we DOLLY OUT to reveal he's sitting in front of Chelsea's grave...<p>

TREVOR: Happy Halloween, Chelsea.

SMASH TO BLACK.

**70** reviews for Episode 6!

a) What was your favorite moment from this episode?  
>b) Which character had the best dialoguequotes this episode? And which pieces of dialogue in particular?  
>c) Who was the most "pathetic" person this episode?<br>d) There's two deleted scenes from this episode: Panama talking to Mr. Leeds while Chelsea's "present" and Olivia & Kirby's reaction to Stab 7. Which one do you want to see more?

Please add this story to your **story alerts ****and your favorites. :)**

And vote for me in the upcoming Scream FanFiction Awards!


	11. Episode 06: If I Could Be Like That

306 - If I Could Be Like That

1.  
>THE SCREEN BURSTS INTO LIFE with inspirational music.<br>A news logo spins it's way into view:  
>THE MORNING NEWS WITH REGINA WALL<p>

INT. NEWSROOM - MORNING  
>REGINA WALL sits at her newsdesk, looking on at the camera with an emotionless smile and glare as if this is just another piece of news to her. DOLLY IN to a MEDIUM CLOSE UP with a bit of space to the left of her shoulder where pictures can be posted.<p>

REGINA: Good morning, everyone, I am Regina Wall here with your morning news and overnight, the newest story to hit the nation is one of grisly proportions. Late last night and early this morning in Woodsboro, California, the details of a so-called "killing spree" are still surfacing in what some are now calling "the Woodsboro Murders REBOOT." It's also going by "The Woodsboro Massacre Remake" and "The Woodsboro Anniversary Killings" by other news outlets in the fact the murders were patterned after the original "Woodsboro Murders" 15 years ago made famous by Gale Weathers in her tell-all, eyewitneess reports and the Stab films. At this time, the suspects have been caught and/or have been found dead with only one sole survivor at this time being reported. There were also numerous reports of other crimes happening in Woodsboro during the 3 day time frame the killing spree took place which are still under investigation as to whether or not they have any link between the two. Sources are also telling us that some of the victims appeared in the "Woodsboro, California" episode of the 25 part documentary by French directors Christoph Clemens and Jean Cloque titled, "America's Youth" which focused on a new city every episode. The "Woodsboro" episode was filmed and aired late last year in November with talks of a follow up episode now in the air after some of their subjects may be feared dead.

SMASH TO BLACK.

MAIN TITLES:  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

2.  
>OPEN ON:<br>A LOGO with American monuments BURSTS onto screen with triumphent music.  
>TITLE: "America's Youth"<br>SUBTITLE: #17 - Woodsboro, California  
>FADE OUT.<p>

FADE IN:  
>INT. CAR - DAY<br>POV FROM THE BACKSEAT: CHRISTOPH CLEMENS drives as JEAN CLOQUE sleeps in the passenger seat of the car.

CONFESSIONAL

CHRISTOPH: I remember being younger and hearing about Woodsboro. In fact, Jean and I went to the cinema to see the first Stab film while we were in film school together. And at the time, we didn't know that the film was based on true events and this really perplexed us that something like this could happen between youth. So afterward, I looked up all the information and I learned of everything that had happened and it was truly remarkable stuff. And then ofcourse, it happened again when the heroine of the film and in real life, Sidney Prescott attended college. And then once more in Hollywood. After that, the films became fictional and that was a great injustice to those who were truly interested because we wanted to know the real story of Woodsboro. In truth, the town of Woodsboro was one of the main reasons we wanted to film this show. Not only to learn about the youth in America but to truly see how the teenagers operate, how they function, who they make friends with, what they learn, and their challenges in a post 9/11 society. But Woodsboro being the home of such a vicious spree made it that much more intriguing to us to go out of our way to make sure we come to Woodsboro.

EXT. WOODSBORO HIGH - PARKING LOT - DAY  
>Christoph and Jean stand in front of the school looking up at it with wonder. The cameraman TILTS up to capture the name of the school. Christoph turns around to the cameraman.<p>

CHRISTOPH: This is the school that Billy Loomis and Stu Macher both attended before their killing spree all those years ago. This is where Sidney Prescott and Tatum Riley became best friends. Where Dwight Riley and Gale Weathers first met.

EXT. VIDEO STORE - DAY  
>Jean walks from the parking lot to the store.<p>

JEAN: And this is where the famous Randy Meeks gained his knowledge of all things film. He worked here for some time and rented videos from this establishment. He would set the rules in the movie and help the characters until eventually... well, I won't ruin the other Stab films, but this is the birth place of an education into film and he, even though he is long gone, is one of my idols.

INT. WOODSBORO HIGH - PRINCIPAL'S OFFICE - DAY  
>Principal Brosnon sits at his desk looking at the two directors in front of him. He smiles politely and nods along listening to what they have to say.<p>

BROSNAN: There is quite an allure from films types all around the world who come here just to get an essence of what this place is. But the fact remains, this is an institution for learning and ya know, people try to come up with theories: "what is it about this place that created a killer?" Truth is, my predecessor, Principal Himbry, was a great believer that your education makes you what you are. No disrespect to the late Himbry but my philosphy is "your education determines what you can become." So those boys weren't killers because of what they were learning but only because they hadn't finished learning.  
>CHRISTOPH: What about those who go on to kill after a college education?<br>BROSNAN: (smiles) They got the wrong education, apparently.

INT. WOODSBORO HIGH - HALLWAYS - DAY  
>Brosnan gives a quick run through the halls of Woodsboro High. He stops at the Principal Himbry bust.<p>

BROSNAN: Principal Himbry was honored about a decade ago with this bust after his unfortunate demise.

INT. WOODSBORO HIGH - CINEMA CLUB ROOM - DAY  
>Brosnan opens the door onto a Cinema Club meeting is occurring. Charlie stands up and turns off a film smack dab in the middle of a steamy sex scene.<p>

BROSNAN: Good afternoon, Cinema Club.  
>CHARLIE: Hi Principal Brosnan, how may I help you?<p>

Charlie now notices the camera and is taken aback a bit, a nervous smile coming across his face.

BROSNAN: You are now being recorded for a new TV documentary called "America's Youth." This is Christoph and Jean.  
>CHRISTOPH: Hello.<br>JEAN: Hello.  
>BROSNAN: And the cameraman, I don't know his name.<br>CAMERAMAN: Hi.  
>BROSNAN: I was just telling Jean and Christoph that one of the biggest clubs on campus belongs to the Cinema Club. A lot of great minds sit in this room as we speak.<br>CHRISTOPH: Is that so?  
>CHARLIE: I would like to think so.<br>ROBBIE: (jumps up) That's very much true, yes.

CONFESSIONAL:  
>Robbie and Charlie sit together while being questioned by Jean who sits offscreen.<p>

JEAN: So Cinema Club, when was that started?  
>ROBBIE: We formed about 2 and a half years ago.<br>CHARLIE: It was very different back than.  
>JEAN: Different how?<br>ROBBIE: Uh... the president back than was... not the best film-inclined, we should say.  
>CHARLIE: Nice guy but - -<br>ROBBIE: Nice guy, you kididng me?  
>CHARLIE: He's dead now, Robbie, c'mon.<br>JEAN: Dead?  
>CHARLIE: Uh... killed. In the... Penciatti Hotel Massacre.<br>JEAN: What is the Penciatti Hotel Massacre?

INT. ROY'S ROOM - DAY  
>Roy is followed by the film crew into his room. He makes his way to his dresser.<p>

ROY: I've kept plenty of news clippings from that day.

He pulls open a drawer and takes them all out, laying them on the bed. The camera scans through them.

CONFESSIONAL:  
>ROY: Ya know, I experienced quite a lot from it. People call me a hero but that's not true at all. I just did what seemed right at the time.<br>JEAN: Did you know the shooter?  
>ROY: Yes, he was apart of the Cinema Club for some time and he took the fall in the creation of the first Stab-A-Thon which landed us expulsion from Woodsboro and in another school in the first place. Breckin High being the other school.<br>JEAN: So were many of the students who were killed in this tragedy students of Breckin High?  
>ROY: Uh, I would say so. A lot of the prom committee, actually. Only two of them survived. The second in command, um... I forget her name. I think it was... Sally or something. And then the other, actually, attends Woodsboro High now. Her name is Marnie.<p>

INT. MARNIE'S ROOM - DAY  
>CONFESSIONAL:<br>JEAN: Is there any major differences between the people who attend Woodsboro and the ones that attend Breckin?  
>MARNIE: All of high school is the same but... Woodsboro is a different beast. I made friends easy at Breckin but here it's been a struggle. It doesn't have much to do with the dyanamics of the student hierarchy but more of my involvement, I would say. At Breckin, I was more popular because those were kids I grew up with and because I was apart of the prom committee. But I think it's different because... it has a history.<br>JEAN: The history affects it how?  
>MARNIE: (tries to put it as nicely as possible) They've raised three mass murderers. Danny now included. Except, they won't ever credit it since he was technically a student of Breckin at the time plus the fact that the school was apart of another city and another county entirely and that the majority of the students were Breckin High members.<br>JEAN: So you think the students at Woodsboro have the history of the school as being apart of them?  
>MARNIE: Some of them, not all of them.<br>JEAN: Anyone in particular?  
>MARNIE: Well in a precise case... there is this one girl who is actually related to (the name bleeps) and she isn't exactly the nicest person.<br>JEAN: In what way does she act?  
>MARNIE: From the little that I know of her and that I've heard, she's very controlling of her friends and she's had plenty of boyfriends. One would say that might have to do with her own quest to have her own identity seperate from her famous relative. My friend knows her better than I do though, so...<p>

EXT. WOODSBORO PLAZA - THEATER - NIGHT  
>Jean and Christoph (and the cameraman, ofcourse) make their way up to the box office of the theater. Jenny prints out a set of tickets and hands it to a group of people who make their way on in. Jenny spots Jean and Christoph and she's immediately shy.<p>

CHRISTOPH: Hello.  
>JENNY: (waves) Hi.<br>CHRISTOPH: My name is Christoph, this is my friend Jean. We are making a documentary.  
>JENNY: You're French? I love your accents.<br>CHRISTOPH: Thank you. We just wanted to speak with you for a moment.

CONFESSIONAL:  
>Jenny's warmed up a bit, more open now.<p>

JEAN: So your friend, related to (the name bleeps), would you say they're troubled?  
>JENNY: Oh, no, not at all. She's very intelligent, barely has any bad counts on her record - -<br>JEAN: Barely?  
>JENNY: Well she was suspended once for taking the stuffing out of Olivia Morris' bra once. They're friends now though so it might as well not even count!<p>

The camera quickly turns to Christoph writing down the name "Olivia Morris" on a paper.

JEAN: So how long have you two been friends?  
>JENNY: Actually, we're not friends anymore.<br>JEAN: Why not?  
>JENNY: It's gonna sound stupid but... a boy. They broke up though... about 2 months ago?<br>JEAN: And why did they break up?  
>JENNY: He left her.<br>JEAN: But why?  
>JENNY: (shrugs) I have - - no idea. I don't talk to him.<br>JEAN: But why would you stop being friends with her over a boy you don't talk to?  
>JENNY: We don't talk anymore. I mean, we do... but not often. Just sporadically.<br>JEAN: I see.

CUT TO:  
>INT. CHRISTOPH'S CAR - NIGHT<br>Christoph drives as Jean sits in the passenger seat, looking at Christoph's notes.

CHRISTOPH: That girl seemed to be lying about something.  
>JEAN: I think her and this boy are friendlier than she makes it sound.<br>CHRISTOPH: And what about this girl they keep referring to? Doesn't it seem like everything leads to her? And they won't give up her name... sounds like they're afraid of her.  
>JEAN: We'll have to talk to her ourselves once we find out who she is. If she truly is related to (the name bleeps) then it would be very important for us to get to know her. See what her upbringing was like, talk about what it was like to make friends with that status...<p>

CUT TO:  
>INT. GIRL'S LOCKER ROOM - DAY<br>Olivia makes her way through the locker room, half dressed but she doesn't mind one bit. She's the only one in there as she makes her way to her locker.

OLIVIA: Yeah, she took some stuffing out of my bra once, no big deal. Besides, I've grown considerablly since than (she pushes up her chest to flaunt). Just kidding. But I mean, we're friends now.  
>JEAN: Could we speak to her?<br>OLIVIA: If she wants to talk to you, sure, but she's kinda hesitant when it comes to being known as the cousin of (the name bleeps out).  
>JEAN: So that's how they're related? They're cousins?<br>OLIVIA: Yeah.  
>JEAN: What is her name if we don't mind asking?<br>OLIVIA: I don't wanna put her on the spot like that. Sorry.

Shirley Mack enters the locker room and sees they're filming.

SHIRLEY: Hiiiii - -

IT QUICKLY CUTS TO:  
>INT. WOODSBORO HIGH - LIBRARY - DAY<br>Christoph types away at the computer while we watch him. Jean sits next to him, trying to put the pieces of the puzzle together.

CHRISTOPH: I found some information about it.  
>JEAN: What does it say?<br>CHRISTOPH: They had one sister. She was married though so her last name changed so we can't find much about their family.  
>JEAN: We've reached a dead end.<p>

CUT TO:  
>CONFESSIONAL:<br>CHRISTOPHER: Admittedly, we had grown a bit obsessed with this mystery girl but we decided not to pursue it any longer as it was interferring with our documentation. Our goal is to get to know the kids of the area and not try to solve any mysteries. So we found someone new to interview to get our minds off of it.

CUT TO:  
>EXT. WOODSBORO HIGH - FOUNTAIN - DAY<br>Jill sits there as she has her lunch in her lap. Jean sits now next to her.

JEAN: How long have you lived in Woodsboro?  
>JILL: All my life.<br>JEAN: So would you say that this is a good town?  
>JILL: It's a great town, wonderful to live in. It's not too big so everyone knows everyone in some way.<p>

Jean looks at Christoph off screen. He's temped to ask... so he does.

JEAN: So have you heard anything about the two killers in the Woodsboro Murders, Billy Loomis or Stu Macher?  
>JILL: Um... no. I haven't heard anything.<br>JEAN: What about the shooter in the recent Penciatti Hotel Massacre?  
>JILL: Didn't know him either.<br>JEAN: But weren't you at one time apart of the Cinema Club?  
>JILL: I still am.<br>JEAN: He was apart of the Cinema Club. Danny.  
>JILL: We never spoke. I didn't know anything about him until after he killed my best friend's boyfriend.<br>JEAN: Was that the former leader of the Cinema Club?  
>JILL: Yes. You spoke to Robbie and Charlie about that, huh?<br>JEAN: The history of the Cinema Club is very intriguing.  
>JILL: Glad you think so.<p>

THE SCREEN GOES BLANK and the electricity fades out as if it's the sound of a TV turning off.

3.  
>INT. JILL'S ROOM - NIGHT<br>DOLLY BACK to Jill sitting in bed looking on at her TV. We can still hear the TV being played another room and then it too stops. She furiously throws the remote across the room and lays back in her bed. And just than... her mother enters the room.

KATE: I'm sorry, honey.  
>JILL: Go away.<br>KATE: If I would've known they'd be blasting your personal information all over the TV, I would've never signed that release form.  
>JILL: Oh no, didn't you see? They never figured out it was me.<br>KATE: Well that's right.  
>JILL: Sarcasm, mom. Everyone at school is gonna know they were talking about me! UGH.<br>KATE: Well you can't be born out of the family you were born into.  
>JILL: I wish I was...<br>KATE: Jill.  
>JILL: That fucking fact follows me around every day of my life. Why did she have to ruin my life with her bullshit?<br>KATE: Jill, Sidney did not ruin your life. They ruined hers.  
>JILL: Three times and they never got her... fucking amateurs.<p>

The soundtrack thuds. Kate's eyes go wide... she can sense that her daughter isn't just frustrated. It's a deep rooted angry truth Jill's been holding in and she can see the resentment in Jill's eyes - - that she wished they succeeded.

KATE: Why on earth would you say something like that?  
>JILL: (beat... smiles) I was kidding.<p>

Kate's not buying it... but she knows better than to start another argument with Jill.

KATE: (nervous laughs) Of course.

CUT TO:  
>INT. WOODSBORO HIGH - HALLWAYS - DAY<br>Marnie is at her locker while Niley stands there waiting for her to finish gathering her books.

NILEY: I don't understand why they cut me out.  
>MARNIE: Maybe it's because you kept using a fake French accent.<br>NILEY: (uses it) It sounds convincing, no?  
>MARNIE: (smiles politely) No, sweetie.<p>

Jill makes her way down the hall and eyes the two of them together.

MARNIE: What the hell was that about?

Jenny approaches the two.

JENNY: Maybe because you told them about her in the first place.  
>MARNIE: What? No, I didn't.<br>JENNY: The entire documentary was void of any reference to Jill Roberts until you wanted to get all anti-Woodsboro and then it practically became an entire storyline. If I would've known it was because of you I was answering questions about Sidney Prescott's mystery relative, I would've said "no comment" as you're setting us up for a hanging.  
>MARNIE: Oh my God, it was totally by accident. I didn't even think they'd use that footage.<br>JENNY: She's sensitive about that stuff, Marnie. And oh my God, I looked so fat on a TV.  
>MARNIE: You looked great.<br>NILEY: Totally fat.  
>MARNIE: Niley.<br>NILEY: Friends are honest!  
>JENNY: Thanks, I'm gonna go chop off my belly fat like that guy in Saw 6 now.<br>NILEY: My insults come with a token. Come jogging with me. I go out every morning before school.  
>JENNY: No wonder you're so damn skinny. Was that Jill's secret too? Jogging in the morning?<br>NILEY: No, she has plenty of other secrets...

Jill continues down the hall on another hallway. She keeps looking at the people around her... they quickly gaze in her direction then down or in another direction. She knows... she knows they're taking a peek of Woodsboro High's mystery person.

Her heart begins to beat quickly and sweat starts to drip from her brow. Before she knows it, she's walking at a quicker pace and trying to hide her face with her hair. She makes it to her locker, trying her fastest to put in the combination but her fingers slip from the sweat. OLIVIA SLAMS HER HAND ON THE LOCKER next to her.

OLIVIA: HEY.  
>JILL: Why are they looking at me?<br>OLIVIA: What?  
>JILL: Everyone knows it was me.<br>OLIVIA: Chillax Jill, it's not the witch trials. There's positive buzz surrounding this new found attention.  
>JILL: What do you mean?<br>OLIVIA: Suddenly you've become cool.

Jill looks back and notices their stares are in admiration. Nobody wants to seem too noticable with a look, so they look away.

JILL: Are you sure?  
>OLIVIA: Feels good, doesn't it? You're the mystery girl all of America is talking about. They feel cool they actually know of you and you're cool because you're famous without the cameras. Anyway, I don't wanna be late. Catch ya at the fountain for lunch.<p>

Olivia walks off and Jill hides her head in the locker... taking a breather... and then she looks back out at the people around her. Her mood suddenly becomes positive... a smile forms on her face... and she suddenly feels fine.

4.  
>CUT TO:<br>INT. CINEMA CLUB - DAY  
>The group is out already and a few have stayed behind to help paint a new banner: Robbie, Freddy, Esline, Chantelle and a mystery boy named Nick. Nick gets up from his side of the banner and makes his way over to Robbie with a sneaky plan in his head. He stops in front of Robbie.<p>

NICK: Robbie, could you take a look?

Robbie looks up - - Nick's crotch is practically in his face so he scoots back a little then looks over at Nick's side of the banner.

ROBBIE: Looks great, Nick.

Nick comes closer again.

NICK: I wanted you to take a closer look.

Robbie jumps before things can get anymore uncomfortable.

ROBBIE: Okay, let's see.

They walk over together and Robbie quickly looks down at the banner without much attention and is already walking away.

ROBBIE: Yeah, looks great, Nick.  
>CHANTELLE: Yeah, so you can get back down on your knees and get to work...<p>

Chantelle winks at Nick and he smirks.

NICK: Bitch.  
>CHANTELLE: Slut.<p>

JUMP FORWARD:  
>The group leaves as Robbie stays behind, ready to roll up the banner. Nick puts away the paint into a cupboard in a room.<p>

ROBBIE: That's okay, Nick, I'll do that.  
>NICK: I've seen the way you look at me.<p>

Robbie freezes. "Wha?"

ROBBIE: I don't look at you.  
>NICK: You kinda do. It's okay, man, I think you're cute.<br>ROBBIE: You uh, I, um, wait, huh, what?  
>NICK: You looked cute on TV last night, too. (beat) Let's skip all this. I'm gay, you're gay. If you're interested, let's go on a date. Friday night, what do you say? You and me.<br>ROBBIE: I'm not - -  
>NICK: Please. You know the expression, "takes one to know one?"<br>ROBBIE: You're very confused and this is going to get awkward if you pursue this conversation further.  
>NICK: I'm great at what I do, Robbie. Have you ever had a boy before? Inside you?<br>ROBBIE: WHOA. This just got way out of - - really gross. Please leave.  
>NICK: Or would you like to be inside me?<br>ROBBIE: Jesus. Okay, I will leave the room than.

Robbie stiffly exits the room as Nick grits his teeth, putting away the last can of paint.

NICK: Fuckin' figures.

INT. RADIO BOOTH - NIGHT  
>Roy sits at the main chair with his headphones on and the microphone in front of him. The "ON AIR" light is on as he finishes out the broadcast.<p>

ROY: And that's all for tonight on 99.5 Scream Radio, I hope you all enjoyed me as your new DJ. This is Roy Popper, Lennon and Mona signing off for the night.  
>LENNON: Good night everybody!<p>

Lennon howls in his glass booth off to the side and Mona chuckles then slowly comes forward to her mic.

MONA: Goodnight boys and girls.  
>ROY: Isn't Mona's voice sexy? Now that is something you could fall asleep to. And again, goodnight and sweet dreams.<p>

CUT TO:  
>INT. TESS' HOUSE - NIGHT<br>A VASE FLIES BY ROY'S HEAD AND SMASHES AGAINST THE WALL. Tess goes to grab something else.

ROY: What the hell are you doing? !  
>TESS: Her voice is sexy to you, Roy? Huh?<p>

She picks up a lamp and THROWS that too.

ROY: No!  
>TESS: Is it better than mine? Do you like my voice, Roy?<br>ROY: I love your voice! Shit!  
>TESS: I knew this would happen, I knew you would cheat on me!<br>ROY: Holy crap, cheat on you? Tess, calm the eff down, please! Lemme explain.  
>TESS: Explain what? How you're piece of shit? !<br>ROY: It's just a radio persona! It's just a piece of entertainment for the listeners!  
>TESS: Nobody fucking listens to your show!<br>ROY: (beat) You did.  
>TESS: UGGGGGGH!<p>

She grabs a plate from the cupboard and twirls at him.

ROY: What the fuckin', fuck, fuck!  
>TESS: Get out! GET OUT!<p>

Roy can see she's about to cry... but he doesn't care.

ROY: I can't do this.

Roy promptly exits as Tess sits down on the floor with her head between her knees.

5.  
>CUT TO:<br>INT. CHARLIE'S HOUSE - NIGHT  
>Roy and Charlie sit on his front porch.<p>

ROY: I'm losing my fucking mind trying to fix this.  
>CHARLIE: Sometimes you just gotta stick it through, ya know? No matter how crazy a person gets.<br>ROY: This is just pure insanity though. Like she'll actually kill me over literally nothing if I don't... leave. But if I leave... she'll kill herself or something.  
>CHARLIE: It's your life, man. You only live it once. Gotta be happy while you're in it.<br>ROY: Stephie ever do anything like that to you?  
>CHARLIE: (chuckles) Oh man, you have no idea. She was crazy, too. Sweet but crazy. But the best way to counter it is to just... be crazy back.<br>ROY: Be crazy back?  
>CHARLIE: Yeah, man. Fuck it, whatever they do to you, just double it up and be two times worse. Makes you feel the right amount of sane as odd as that may sound. Feels like you're on the same level with somebody.<br>ROY: (beat) How you doin' anyway? Without Stephie?  
>CHARLIE: I can't talk to her. It hurts too much. It's just time that I move on. Or don't move at all, just stick with the pace of the world instead of trying to get ahead of myself. Or find someone I have common ground with.<br>ROY: (beat) Didn't you like Kirby?  
>CHARLIE: (smiles) Still do. That's your woman though.<br>ROY: No, no, man... that's over. Been done. I got Tess now. I wanna make that work. I honestly haven't thought of Kirby in awhile. But I know you've had a thing for her since freshman year.  
>CHARLIE: Until Stephie...<br>ROY: And during...  
>CHARLIE: Only in the beginning.<br>ROY: Was it?  
>CHARLIE: (beat) I think so.<br>ROY: You still do, Charlie. (smirks) And you don't have me as competition anymore, so you could easily tackle that.  
>CHARLIE: (chuckles) Maybe I'll take you up on that.<p>

CUT TO:  
>INT. BLOCKBUSTER - STORAGE ROOM - NIGHT<br>Topher's face is in between Kirby's legs moving around in circles as Kirby clutches on to his hair while she softly moans.

KIRBY: Oh, there it is. There it is.

She squeezes her eyes tight as her body tenses up and she holds her breath. She moans as the air releases from her lungs and her head falls back onto the wall. Topher raises his head up and looks up at Kirby as she's now a sweaty mess.

TOPHER: How was that?  
>KIRBY: You rocked my fucking world, baby. Where'd you learn that?<br>TOPHER: (proud of himself) Internet.

Kirby smirks and pats him on the head like he's a good dog. She lifts herself up and slides back on her panties and looks around for her pants.

TOPHER: I don't get a thank you?  
>KIRBY: Not tonight, my jaw is killing me as is.<br>TOPHER: Oh... that's fine than. As long as I got to do you.  
>KIRBY: And thanks for that. See? There's your "thank you."<p>

Kirby slides on her pants and makes her way to the door.

TOPHER: Hey Kirby.  
>KIRBY: Yeah, Topher?<br>TOPHER: I'm not stupid, ya know? I know this ain't gonna last.  
>KIRBY: (smiles) I think we're great as we are.<br>TOPHER: Yeah... about that... there's this girl and uh... she kinda wants the real thing, ya know?

Kirby's heart sinks but she smiles through it.

KIRBY: Then you go get her.  
>TOPHER: Really? Just like that? You're not gonna fight for me to stay around or anything?<br>KIRBY: Topher, from day one, you knew we would never get anywhere. I'm not looking for a relationship. I won't be... for a very long while. I've had my share and I can't get into that again. But you should...  
>TOPHER: Glad to know I meant nothing to you.<p>

Kirby wants to fight it... but she knows she can't. She knows he won't let go unless she makes him...

KIRBY: Sorry, kiddo.

She opens the door and leaves, leaving Topher behind.

CUT TO:  
>INT. JILL'S ROOM - NIGHT<br>Jill sits at her bed watching youtube on her laptop... it's the show she was on and it's her part. 10,700 views. She has her hand on the mousepad with a smile on her face... her part ends... and she quickly rewinds it back to the beginning of her scene. Her smile grows bigger... and then she notices the time. Too late to mention.

She presses stop and exits out the page, popping up the page she was looking at before. It's a news column with various pieces of news being listed on a live stream. She's about to exit the page until... she stops and reads carefully on one...

"Sidney Prescott announces new self-help autobiography."

She clicks on the page and quickly skims through the article. It's only been up for two short hours. She reaches the bottom of the page at the hit counter: 1,123,401 views. Jill's head slowly starts to turn red as an inside ticker reaches it's final moments before explosion. Before she scream - -

SMASH TO BLACK.

a) What was your favorite moment from this episode?  
>b) Which character had the best dialoguequotes this episode? And which pieces of dialogue in particular?  
>c) Who rightfully envied who the most this episode?<p>

**Submit your questions in a review or a PM for the upcoming Q&A!**

83 reviews for Episode 7!


	12. Robbie's Status Updates

"America's Youth" on tonight and I'm gonna be on there! Every1 tune in!  
>Mood: Stoked. 27 likes.<br>14 comments:  
>Roy Popper: I already saw it! Buahahahahaha! East coast cable rocks!<br>Kirbiline Reed: WTF, still pissed I didn't get interviewed.  
>Charlie Walker - Nobody pay attention to him, the cooler person will be on the left side of the screen ;)<br>Nick Zahn - OMG OMG OMG Ima 2tally watch!  
>Charlie Walker - What the hell is a 2tally?<br>Nick Zahn - Totally. 2tally. Get it?  
>Charlie Walker - That still doesn't make sense.<br>Robbie Mercer - Shut up, this is about me!  
>Nick Zahn - Yaaaay, Ima record it and watch it a hundred times!<br>Roy Popper - ^ Cool story bro.  
>Kirbiline Reed - Who's coming over to watch it with me?<br>Trevor Sheldon - ME.  
>Kirbiline Reed - Trevor, GTFO!<br>Trevor Sheldon - Sorry :(

Who saw me on TV just now? !  
>Mood: Ecstatic. 12 likes.<br>5 Comments:  
>Charlie Walker - Nobody. We all hate you.<br>Nick Zahn - You looked great! I wish I couldve bin on there!  
>Olivia Morris - It was all about MEEEE!<br>Jill Roberts - WTF was that all about anyway?  
>Charlie Walker - ^ What?<br>Jill Roberts - The whole beginning. Beyond peeved. UGH.

Thinking about starting my own TMZ like website on Woodsboro High since the documentary pulled in such good numbers. What do you think?  
>Mood: Curious. 0 likes.<br>1 Comment:  
>Robbie Mercer - Anyone?<p>

WTH? Some people are just too 4ward.  
>Mood: Confused. 3 likes.<br>2 comments:  
>Nick Zahn - :-  
>Charlie Walker - Ill go backwards from now on.<p>

83 reviews for the next episode!


	13. Kirby's Advice Column: Issue 13

Dear Kirby, how do I convince my boyfriend to go down on me?

Ladies, this is easy. Simply just tell him if he goes first than you'll go after. Works like a charm. If he did good enough, you can reciprocate but I'll leave that up to you. That or just convince him into a 69.

Dear Kirby, is it possible to love 2 people at once?

Not in my opinion. Love is for one person and one person only. I also believe they have to love you back. As to what my opinion on what love truly is, that's a bit more complicated.

Dear Kirby, I love your column and I read it everyday! How do I get a boy to like me?

Don't. If that idiot doesn't like you already than something is obviously wrong with him. Move on to the guy that actually likes you, which usually turns out to be your best guy friend or something. It's worth a shot, right?

Dear Kirby, why are you so cool?

One pint of not caring, 3 shots in the morning of 100% alcohol to keep you buzzed throughout the day, a 2 inch razor to keep your hair at the perfect length to make it fashionable but not lesbian and 1 dead boyfriend in the past to tamper your mood. I know, that last one was a bit fucked up but we can laugh at my misery now, right? I deem it no longer "not too soon."

**83 reviews for Chapter 7!**


	14. Episode 07: The Dope Show

_**Again, for the numbered sections in your reviews, please don't just say what happens in that section as that doesn't tell me very much of what you thought about it. For those who just read and don't look at the reviews so they have no idea what I'm talking about (well wait, first of all, you should be reviewing too! Haha) this "summarizing a section" thing oddly does happen and**_ frequently._** So excuse this very... odd author's note LOL**_

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><p><strong>Do not forget<strong> to add this story to your **story alerts**, your **favorites** and me as a **favorite author** as well as **author alerts**!

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><p><em>307 - The Dope Show<em>

1.  
>OPEN ON:<br>INT. HOSPITAL ROOM - NIGHT  
>TITLE CARD: April 2011<br>Sidney sits on the hospital bed, looking around at the medical equipment around her. Electricity strings from every wire into every machine as if it were some robot and every room was connected... the door opens and enters DR. ORTH. He's mid-thirties, his brown hair graying from a never ending work load and with dark, expressive eyes. He smiles and grabs his seat from the side of the room as Sidney preps for what's coming next... he checks her cheek and examines the small scratch on her cheekbone.

DR. ORTH: (smiles) This'll be quick.  
>SIDNEY: That's a first.<p>

He grabs his tools and finally takes his seat, coming closer to Sidney.

DR. ORTH: (holding up a syringe) This should numb it.

Sidney notices his nametag... he gives her the shot just inside her wound.

SIDNEY: Dr. Orth?  
>DR. ORTH: Yeah?<br>SIDNEY: What's your first name?  
>DR. ORTH: Andrew.<br>SIDNEY: Andrew Orth.  
>DR. ORTH: (smiles) Doctor... Andrew Orth.<p>

He slides a needle into her cheek and pulls on the thread attached to it. He continues to sew her face in shut. She grips the edge of the bed, trying her best to keep herself strong.

SIDNEY: Steven was your brother?

Dr. Orth slows down a bit... he looks up at her with another smile...

DR. ORTH: You filled in the gaps.  
>SIDNEY: I'm sorry.<br>DR. ORTH: Don't be, Ms. Prescott. It was out of your control. I know people blame you... but I don't. In fact, I blame my brother.  
>SIDNEY: What?<br>DR. ORTH: (smiles, remembering) He loved Casey. A little bit too much. But... he wasn't with her when he loved her, nor when he did a little too much. There was a cheerleader he was with at the time. God, I forget her name now. But... Casey was with Stu at the time also... one thing lead to another... surely, if Billy didn't have an accomplice in Stu, who could've not had a motive if it wern't for Steve taking him away from her... then Billy might not've done what he did. And my brother would still be here.  
>SIDNEY: No, Dr. Orth... your brother was human and lived his life. He did the most instinctual thing that seemed right at the time. It was Billy and Stu who decided to take matters into their own hands. And crazy people shouldn't have matters in their hands.<br>DR. ORTH: Perhaps your right. God, I never saw it that way until now. 15 years of my life...  
>SIDNEY: (smiles) Do you have a family?<br>DR. ORTH: With this job? No way. My sister does though... she married a Ricci. And Ricci's are known to breed. (chuckles) I have a few nieces and nephews about the age of your cousin.  
>SIDNEY: Oh?<br>DR. ORTH: I've thought about kids. But I can't stand thought of... losing someone like I lost my brother. Not again.

He finishes and snips the thread. He stands back to take a look.

DR. ORTH: Perhaps a very minor scar but I did my best work on you, Ms. Precott.  
>SIDNEY: Please... Sidney.<p>

He smiles and gestures to the door. She jumps off the bed and he leads her the way out and opens the door for her... she exits. He smiles politely as she goes... but just as she's out of sight...

CLOSE IN ON HIS FACE... his jaw tightens and his eyes stare her down...

SMASH TO BLACK.

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><p><strong>MAIN TITLES:<strong>  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

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><p>2.<br>FADE IN:  
>EXT. STREETS - MORNING<br>TITLE CARD: November 2010  
>Niley and Jenny jog along the streets in the early morning. Niley has a specific jogging outfit while Jenny's in her PE clothes. She straggles behind a bit. Niley slows down behind Jenny and pushes her along as a joke; Jenny laughs as if she's being tickled and tries to get away from her.<p>

INT. WOODSBORO HIGH - MORNING  
>Roy and Joseph Morris make their way up the steps into the building.<p>

JOSEPH: Let me be on your radio show!  
>ROY: And talk about what?<br>JOSEPH: I don't know, just shoot the shit about movies like you usually do.  
>ROY: But what qualifications do you have?<br>JOSEPH: We're in the same grade, we practically have the same movie course knowledge.  
>ROY: My education expands into my daily life; yours is limited to what you learn in class. It's a purely film school perspective and those guys have no fucking idea what makes a good movie. Nothing can be pure entertainment to them.<br>JOSEPH: That's a damn lie, we know plenty of what people want to see.  
>ROY: What's your thoughts on Michael Bay?<br>JOSEPH: One of the worst directors ever. He lacks focus, can't direct his actors, the story's are convuluted with little explanation and everything is eye candy while every one of his movies stretch longer than 2 hours for no good reason. Not to mention his horrible humor.  
>ROY: And that's exactly why you can't be on the show. Michael Bay is fucking awesome. "Pure entertainment," Joseph. Give that some thought; not everybody wants to see a Scorcese film every time they put down ten bucks at the box office.<p>

They come to a stop at Roy's locker as Charlie approaches them with a newspaper held up high.

CHARLIE: You see this?  
>ROY: (already read it before) "Sidney Prescott to return to Woodsboro to promote new self-help book."<br>CHARLIE: Amazing, right?  
>JOSEPH: What's so amazing about that?<br>CHARLIE: More Stab movies.  
>JOSEPH: For me, that's the down part. Stab's dead.<br>ROY: This fuckin' guy, I swear.  
>JOSEPH: You cannot defend Stab!<br>CHARLIE: It might generate some interest in doing a reboot though. Think about it, with all the internal information Sidney's been harboring, this could put a nice spin on a newly realized version.  
>JOSEPH: How on earth could you be behind that idea? Remakes suck.<br>CHARLIE: Well with the right person behind the scenes, it could work. The Departed, Dawn of the Dead, The Ring, Scarface; all great remakes.

Roy closes his locker and they all continue forward.

ROY: Better idea: Sidney comes back to Woodsboro, another massacre happens, and the survivors of that become the new Dewey, Gale, Randy and Sidney. It's a remake without pissing off the fans while alluding to the original enough to please a new audience.  
>JOSEPH: It's a total rehash. You gotta do something new and original. Get out of the same damn formula, mix things up a bit; surprise the audience! Make Ghostface scary again. Well, he never was: Robert Rodriguez never fully put the emphasis on fear like he should've.<br>ROY: You're gonna give me a fuckin' headache.  
>CHARLIE: (still stuck on what Roy said) But Sidney would never agree to a "Sidney comes back to Woodsboro angle."<br>ROY: Not unless it happened in real life. Sidney was just pissed they tried to keep making fictional shit up about her. As much as I'm sure she would love to keep the Ghostface image off of screens, when they flaunt the right amount of money at her, with a new and TRUE story at hand, she'd be down for anything. Well, unless she died in real life which would result in her dying in the remake-slash-reboot and passed on the torch; then they could basically do whatever.  
>JOSEPH: So you want Sidney to come back to Woodsboro, have a new massacre that results not only in more teen deaths but also hers with someone being the new Sidney so they could make a new series?<br>ROY: No, that's immoral. But wouldn't that be wild?

Roy and Joseph continue walking as Charlie stops.

CHARLIE: Yeah... wild.

3.  
>CUT TO:<br>INT. LOCKER ROOM - DAY  
>Jenny and Marnie make their way into the locker room while the other ladies follow behind. Jenny's an exhausted mess, barely able to stand as Marnie watches her with very little concern. Marnie opens her locker to put back on her regular clothes as Jenny sits down behind her, trying to catch her breath.<p>

MARNIE: C'mon, quit being a baby.  
>JENNY: You try... to run... in the morning... and then at PE... TWO TIMES A DAY!<br>MARNIE: You're the only to ever attempt it, right Jenny?  
>JENNY: Shut... up. How about... you dress me?<br>MARNIE: Because lesbian rumors about us aren't enough.  
>JENNY: We... have lesbian rumors?<br>MARNIE: On top of "we share Trevor" rumors, on top of "I'm secretly friends with Jill" rumors and on top of, oh what's the last one? Oh, "you're paying me to be your friend." That last one is kinda funny actually.  
>JENNY: (she's finally caught up with her breath) Well what the hell? Why do people think we're lesbians?<br>MARNIE: Hm. Might be because you're the only person just sitting there looking at me as I undress. Creepy, I admit. Please stop.  
>JENNY: Sorry.<p>

Jenny now comes forward and opens her own locker to start getting undressed herself.

JENNY: And why would people think we share Trevor? People don't even know that him and I together.  
>MARNIE: Because THAT'S a big secret.<br>JENNY: I don't understand your sarcasm. Look, Trevor and I have been trying really hard - -

Marnie's mind goes blank. Everything Jenny says literally mutes but her headache ensues anyway. She then remembers what Niley said...

MARNIE: Jenny, shut the fuck up.

Jenny stops speaking, totally frozen and unsure of what to do. She keeps talking anyway.

JENNY: So I told him that we should try it differently if it's not working the other way -  
>MARNIE: I said, shut the fuck up!<br>JENNY: Like... really? Stop speaking?  
>MARNIE: Yeah. I'm tired of "Trevor this," and "Trevor that." I'm done. SHUT THE FUCK UP. And people know you're together because you don't realize you're talking about him in a CROWDED LOCKER ROOM.<p>

Marnie's fully dressed now and she exits the locker room, leaving Jenny behind.

INT. CINEMA CLUB - DAY  
>As the classes get out, Robbie quickly makes his way into the room to be the first one there. He smiles at this fact with a point of pride. But just than...<p>

NICK: That was quick.

Robbie jolts his head to the back of the room where Nick sits with an eager smile.

ROBBIE: Hello Nick.

Robbie uncomfortably places his backpack down and crosses the room to a TV monitor set up off to the side with a VCR to it.

NICK: What's in store for today?  
>ROBBIE: We'll be discussing the role of women in 1960s cinema.<br>NICK: Ah. Women.  
>ROBBIE: I'll be right back, gotta... grab the tape from Charlie's car.<p>

Robbie crosses back out to exit the room but Charlie than enters.

CHARLIE: Hey guys.

Robbie sits at the front desk, now feeling an ease on this situation. Nick's smile fades but he tries to remain optimistic.

CHARLIE: Nick, you're here early. Two-tally early.  
>NICK: (smirks) Funny. Clever.<br>CHARLIE: Just messin' with ya, man. Robbie, did you get the tape?  
>ROBBIE: Yeah, it's in my backpack.<p>

Robbie's eyes quickly shift over to Nick as Nick frowns with a bit of disappointment.

CHARLIE: Ah crap. I forgot to print off those handouts. (heading out) I'll be right back.

Nick and Robbie are now alone again, much to Robbie's dismay.

NICK: He broke a cardinal rule there. Horror rule... you said that one.  
>ROBBIE: (sighs) No Nick, Randy in the first Stab film did.<br>NICK: I guess it was a bit hard to pay attention to with you sitting in front of me.  
>ROBBIE: (beat) Why the hell are you doing this?<br>NICK: Okay, I don't wanna hurt a friendship or anything so don't tell them that I told you but... Olivia told me.  
>ROBBIE: She's mistaken. It was a joke.<br>NICK: I don't know, she explained it in detail about you and Niley breaking things off and the whole thing with Solai. She just wants you to be happy and your secret is safe with me. I don't want the whole school to know about me either, we can keep this secret or... whatever you wanna do.  
>ROBBIE: (beat) She doesn't know what the fuck she's talking about. Got that?<br>NICK: Robbie, c'mon.  
>ROBBIE: You're banned from Cinema Club.<br>NICK: Robbie. I'm trying to be nice here.  
>ROBBIE: Even if I was, what makes you think you'd be my type?<br>NICK: (beat) You're right. Sorry.

Nick grabs his backpack and quickly heads for the door. Charlie returns, bumping into Nick as he fastly paces far away from the room. Charlie looks back.

CHARLIE: What was that about?  
>ROBBIE: Emergency, I guess.<p>

4.  
>CUT TO:<br>INT. JILL'S LIVING ROOM - DAY  
>Jill enters her house as Kirby drives off in the background. The house is empty, stagnant... cold and neglected. She drops her backpack next to the stairs and makes her way up to her room.<p>

INT. JILL'S ROOM - DAY  
>Jill sits onto her bed as she kicks off her shoes. She climbs back to the head rest and cozies up into her blanket, trying to get warm. She looks on at her blank TV... her remote is on the nightstand... it's too far.<p>

DAY TURNS INTO NIGHT  
>Jill is still in the same spot. She hasn't moved an inch... she probably hasn't even blinked... the door opens downstairs and she wakes up from her dazed state.<p>

KATE (O.S.): Jill, I'm home!

Jill then looks back at over at the nightstand: her hand swoops the remote and turns on the TV. She lays back and gets comfortable, flipping through the channels.

She stops on the E! channel as it covers a premiere of some sort. Emma Watson walks by on screen in a black feathered dress, instantly catching Jill's attention. She sits up and watches her closely... it's mesmorizing to her... something about it.

Maybe it's the way she carries herself. Her grace. The way she smiles. Her short hair or her eyes as bulbs flash to catch a pic of her. Jill rewinds her DVR and watches Emma walk by again. And then she does it again.

THE DOOR OPENS. Kate stands at the door frame, hanging half way into the room. Jill's eyes stay on the TV.

KATE: Mac and cheese?  
>JILL: Sure.<br>KATE: (beat) You okay?  
>JILL: Yeah, fine.<br>KATE: Okay honey. Hey, I've been meaning to ask you... I don't want to upset you though.  
>JILL: What is it?<br>KATE: Our insurance is still paying for Dr. Pryce... are you... ever going to see him again?  
>JILL: No, that's okay, mom.<p>

Kate takes a moment just to watch her daughter in bed. She notices her fingers clicking the rewind, stop and play buttons over and over again. She knows her daughter might be a bit different... but she just wants her to be happy.

KATE: Whatever you say, honey... I love you.  
>JILL: (remains blank) I love you, too.<p>

Kate closes the door without giving it much thought and returns down the stairs. Jill continues to watch Emma. She sits in just a bit closer...

JILL: They love you...

She doesn't press "stop" this time and continues to watch. The feed cuts to a shot of the crowd as they all go wild just by her presence walking passed. Jill's eyebrow twitches upward...

She sits back and grabs her laptop, throwing it on to her legs and quickly types in a youtube search. She comes across an appearance Sidney made in Canada earlier this month to talk about the release of her new book. As Sidney walks toward the building, fans outside scream out her name... almost the exact same way they did for Emma...

JILL: They love you, too... and you've done nothing...

CUT TO:  
>EXT. PARTY - NIGHT<br>"The Dope Show" by Marilyn Manson plays as Kirby parks her car with the rest of the others in front of a large house throwing a party. Kirby exits by her lonesome, her phone to her ear.

KIRBY: Jesus, this place is packed.  
>OLIVIA (O.V.): Who's all there?<br>KIRBY: Everyone except your lame ass.  
>OLIVIA (O.V.): Well that means you'll just have to do double the amount of alcohol.<br>KIRBY: When do I not? I'll catch you later.

INT. PARTY - LIVING ROOM - CONT'D  
>Kirby enters as the music bangs even louder now. As she makes her way through the crowd, a few people notice her and give her a hug. She quickly asks where the beer is and they point their way into a room further in.<p>

INT. PARTY - KITCHEN - CONT'D  
>Kirby makes her way to the kitchen and looks at the line for the keg. She quickly bypasses it and goes straight to the front. The guy dispensing the cups and beer immediately pushes the guy in the front of the line out of the way to service Kirby without a moment to waste. She takes her prize and walks into the dining room.<p>

INT. PARTY - DINIGN ROOM - CONT'D  
>The DJ is set up in this room as he spins the records. A boy walks into Kirby and turns around, it's Joseph.<p>

JOSEPH: Oh... hey!  
>KIRBY: Hey. What are you doing here?<br>JOSEPH: (drunk chuckles) I don't know.  
>KIRBY: Your sister bailed on me. I didn't know you were cool, Joseph.<br>JOSEPH: Every once and awhile I attend these things. I know the guy throwing the party.  
>KIRBY: Oh. Well it's cool to see you.<p>

Joseph wants to stay longer but he takes his cue and quickly exits.

JOSEPH: See ya around.

Kirby takes a sip of her drink and from the top of her eyes not covered by the Dixie cup, she notices Topher sitting down with a group of females on the couch. She watches him but realizes from where she is, it'd be too noticable. She quickly grabs Joseph back.

KIRBY: Stay here for a second.  
>JOSEPH: You got it. So uh... how are you?<br>KIRBY: Who are those girls sitting on that couch?  
>JOSEPH: Uh... that's Amanda, Lynn, Taylor and - -<br>KIRBY: (she recognizes the last one) Solai.  
>JOSEPH: Yeah, you know her?<br>KIRBY: Oh boy, do I.

Solai leans forward and whispers into Topher's ear. He smiles and they both look at each other as she coyly gestures into another room.

KIRBY: What the fuck is he doing?

Topher and Solai both get up and head down the hallway. Kirby's eyes are wide in disbelief... she quickly downs the rest of her beer and throws the cup into Joseph's chest.

KIRBY: Get me another one of these. Mama needs to make some bad decisions tonight.  
>JOSEPH: Coming right up.<p>

He runs off into the kitchen. She continues to watch Topher and Solai walk into a room down the hall out of view. Kirby holds back any sense of emotion and tries to vibe with the music. She then notices Lynn, now a bit more lonely, looking back at Kirby.

Kirby's eyes shift, wondering if she's being looked back at. Lynn smiles with blush forming in her cheeks and she looks down. Kirby's eyebrows crunch up... what? Joseph returns with the beer.

JOSEPH: Here you go, Kirby.  
>KIRBY: Thanks.<p>

Kirby quickly downs while looking back over at Lynn...

5.  
>CUT TO:<br>INT. RADIO BOOTH - NIGHT  
>Roy finishes cleaning up his materials at the end of the night; he's the only one there at this point. Tess enters the room and Roy's eyes shoot up.<p>

ROY: Hey my love, when'd you get here?  
>TESS: Where is she?<br>ROY: Who?  
>TESS: The girl you're fucking, where is she?<br>ROY: Tess, I'm here by myself. Okay? We talked about this.

TESS FLIPS OVER A DESK with everything on top of it and looks underneath.

ROY: Hey, God dammit, there's important shit here!  
>TESS: What about me, Roy? Am I important? Why haven't you come home yet? !<br>ROY: I'm creating a mix for tomorrow so I don't have to come in early. Jesus!  
>TESS: That's fine, Roy, you do whatever you want...<p>

Roy listens to her continue to babble about whatever crap she's spewing out her mouth... and then it hits him... something he realized he was supposed to do...

ROY: SO WHO ARE YOU FUCKING, TESS?  
>TESS: What?<br>ROY: You're always yelling at me, what if it's you who's guilty?  
>TESS: I'm not doing anything, Roy, I swear!<br>ROY: Really? What about all those times you go to school early? Or the times where I'm away? Who's fucking you when I'm gone? !  
>TESS: Roy, calm down, I'm not with anyone else but you!<br>ROY: You're lying to me!  
>TESS: I swear to God! What has gotten into you? !<br>ROY: You're a lying, cheating bitch, ADMIT IT!

Roy kicks over a chair and it bounces across the room. Tess' eyes fill up with tears.

TESS: Baby, please...

Roy calms down a bit... supposedly...

ROY: I'm sorry, you're right.  
>TESS: Okay... I'll just let you finish whatever you were doing. I'll see when you get home.<p>

Tess quickly exits feeling foolish about the mess she's made. Roy stands in the middle of the thrashed room...

ROY: Well that worked like a charm...

CUT TO:  
>INT. PARTY - DINING ROOM - NIGHT<br>Kirby and Joseph slam down shot glasses onto the table. They're both completely beyond plastered at this point.

KIRBY: Woo! Fuck yeah!

Kirby looks up... Lynn is still watching her... and just then, Kirby has a warm feeling rush over her...

KIRBY: Hey Joe, ring us up some more shots.  
>JOSEPH: You got it.<p>

As soon as he gets up and out of the room, Kirby stands up with the coordination she has left and moves her way across the crowded room straight for Lynn...

KIRBY: Hey...  
>LYNN: Hey...<p>

6.  
>CUT TO:<br>INT. PARTY - BEDROOM - A MOMENT LATER  
>KIRBY AND LYNN KISS IN A HEATED MOMENT as they enter the room. Kirby kicks the door closed and throws Lynn onto the bed while jumping down on top of her. Lynn is quick to get this started, her top instantly coming off.<p>

Kirby giggles, realizing this is actually happening and stares down at Lynn's breast. She looks back up at Lynn's gorgeous green eyes and bites onto her plump pink lips. She pushes Lynn down and kisses down her neck to her chest, squeezing her breast together as her face is in between them. She makes her way down her stomach and then comes to her skirt, quickly pulling it down.

LYNN: You don't fuck around.

Kirby then rubs down into Lynn's panties... and then there's a slight moment of regret. Lynn looks up at Kirby... wondering if something's wrong... Kirby can hear moaning coming from the room just over... she looks back down at Lynn, now meaning business and slides her fingers inside her. Lynn moans softly and bites onto Kirby's arm that's holding her up.

INT. PARTY - DINING ROOM - SIMULATANEOUS  
>Joseph re-enters the dining room. He looks around and into the crowd to see where Kirby could be... a group of girls come by and take his shots without asking and run into the kitchen... but he doesn't care.<p>

INT. PARTY BEDROOM - A MOMENT LATER  
>Kirby kisses on Lynn's neck as she continues to finger her. The moaning grows louder from the other room, distracting her from her work...<p>

KIRBY: Just a second, Lynn.

Kirby jumps up and walks into the room's connected bathroom and closes the door. She stops for a moment and looks into the mirror. It shakes and rattles on each moan from the other room... she holds her head: this is worse than she thought.

KIRBY: What the fuck are you doing, Kirbz?

Kirby mans up and looks at the door knob... and she pushes her way through and walks straight passed Lynn on the bed, half naked.

LYNN: Where you going?

INT. PARTY - HALLWAY - CONT'D  
>Kirby exits the bedroom and turns to the room next to hers. She KICKS the door open and turns on the lights. Solai jumps up and quickly throws the covers over her, leaving Topher hanging dry and completely exposed.<p>

KIRBY: GET UP.  
>TOPHER: What the fuck are you doing? !<br>KIRBY: GET THE FUCK UP, TOPHER! (to Solai) And you, OUT.  
>SOLAI: Are you his girlfriend?<br>KIRBY: GET OUT!

Solai goes to grab her clothes and Kirby grabs her arm.

KIRBY: Leave them...

Solai sees the insanity growing in her eyes... she bolts out the door with nothing but the blanket wrapped around her. The partygoers outside the door look in and Kirby shuts it after Solai exits. She looks back at Topher...

TOPHER: (getting dressed) God dammit, Kirby, what are you doing, huh?  
>KIRBY: Solai? Of all bitches?<br>TOPHER: She's not a bitch, she's a very nice girl and this is none of your fucking business!  
>KIRBY: She's a nice girl? Who fucks guys at parties. Sorry, I forgot those existed.<br>TOPHER: We've been talking for months, okay? And now, if you don't fucking mind, I'd like to finish what we started so if you excuse me.

Topher makes his way to the door.

KIRBY: Sit down.  
>TOPHER: Move.<br>KIRBY: SIT DOWN.

Topher backs up... he knows better. He sits down at the edge of the bed. Kirby grabs the first chair and pulls it up in front of him.

TOPHER: This isn't right, you have no right to do this.  
>KIRBY: I'll do whatever I want. You're MINE, don't fucking forget it. Got that?<br>TOPHER: (chuckles) You're crazy.  
>KIRBY: No shit.<br>TOPHER: ... I'm not yours, Kirby. Not anymore. You left me behind. You had your chance.  
>KIRBY: I don't care, I'm taking you back.<br>TOPHER: I don't want you, Kirby! You were just some stupid bitch that I fucked at work!  
>KIRBY: You were in love with me!<br>TOPHER: I was in love with your pussy. How the fuck could I love you? Look at you. Drunk as shit, you're a mess - - you look like you just got out of a lesbian hook up. And look at Solai. She's fucking gorgeous. With a great personality to go along with that dancer body of hers. Compared to her, you're a piece of shit!  
>KIRBY: You're just saying that.<br>TOPHER: No, I'm not.  
>KIRBY: I saw the corsage.<br>TOPHER: (beat) What?  
>KIRBY: Prom. You bought me a corsage to take me. Don't tell me you did that just to get laid because you were already getting that and frequently. And all the other nice shit you did for me? What was that? Nobody treats their weekend lay like that.<br>TOPHER: If you knew I was so in love with you, then why couldn't you love me, huh?  
>KIRBY: (begins to cry) Because I was fucking scared, Topher. Don't you get it? When I first met you, my first ever boyfriend was dead. Murdered. Do you have any idea how much of a fucked up place that puts a person in? And then when I finally found someone else, they didn't want me anymore either. I felt like shit, I felt like maybe I wasn't worth anything to anyone and any time someone would try to treat me as something more, I backed them off because I knew it'd end just like the people who left me before. I over compensated by trying to fill that void that I just... finger fucked Lynn right now! I couldn't have you because I wouldn't let myself and so I needed other things to make myself believe that I didn't need you... Fuck, man, I'm crying, ugh! (beat) I never even used to be like this, I never even thought about love and all this shit.<br>TOPHER: Kirby... I would've loved you. I did love you. But now it's gone. I can't forgive you. And I know what happened to you must've hurt... but I'm done now. Fact of the matter is... you used me. And I'll never forget that.  
>KIRBY: Please Topher...<br>TOPHER: I'm sorry, Kirby... but there's someone out there right now who really needs me... and if you just suddenly decided to care about me now... you should understand that...  
>KIRBY: (sniffles slowing down) You really like her?<br>TOPHER: (beat... smiles) Yeah... I really do.

Kirby finally sees it... she messed things up... and the one person she had... she lost. She inhales... and exhales it out...

KIRBY: I'm sorry.

Kirby gets up and walks back to the door. She opens it and steps aside as Solai looks in at the two of them... Kirby nods her head that she can enter... the partygoers watch this moment... Topher holds Solai close... Kirby looks back at them... and exits.

7.  
>EXT. PARTY - NIGHT<br>Kirby exits out the front door, a distraught and miserable mess. She takes out her phone and squints down to look at the numbers. Joseph comes running out behind her. She's a stumbling, mumbling and drunk mess.

JOSEPH: Kirby, you okay?  
>KIRBY: I need to call someone.<br>JOSEPH: I'll give you a ride.  
>KIRBY: No, no, I need to call someone to talk to.<br>JOSEPH: We can talk.  
>KIRBY: No, I barely know you. You're my best friend's little brother, that's weird.<br>JOSEPH: There's nothing weird about that.  
>KIRBY: GO THE FUCK AWAY!<p>

Joseph stops and lets her continue her drunk ass on.

KIRBY: Oh, there we go. I need to call Charlie. Charlie's always awake.

She dials the number and enters her car. He quickly answers.

CHARLIE: Hello?  
>KIRBY: CHARLAAAAAAAY!<br>CHARLIE: Hi drunk-Kirby.  
>KIRBY: I'm barely buzzed.<p>

Her head splats onto the steering wheel... she's too lazy to move it.

CHARLIE: Do you need a ride?  
>KIRBY: No, no, no, I'm not too far. I drive great drunk. I wanna come see you, Charlie.<br>CHARLIE: It's kinda late...  
>KIRBY: You're the guy people go to when it's late and they need to talk though and I need - to talk - to you.<br>CHARLIE: (beat) Okay...  
>KIRBY: See you in 15 minutes. Wait, with how I'll be driving... 3.<p>

She hangs up.

CUT TO:  
>INT. CHARLIE'S LIVING ROOM - NIGHT<br>Charlie sits at the couch texting on his phone by the window. He hears a car drive up and he looks out... Kirby's car smashes into his garbage cans and parks halfway on the sidewalk.

CHARLIE: Shit.

He gets up and opens the door. Kirby is already up the walkway.

KIRBY: Charlie, let's chat.  
>CHARLIE: Maybe you should lay down.<br>KIRBY: Oooh, sounds like a good idea.

She enters and looks around. The house is dark... and quiet.

KIRBY: Where's everybody? WHERE'S THE PARTY AT?  
>CHARLIE: My parents are gone, uh, here, lay on the couch.<br>KIRBY: No, you know what? (grabs onto his collar) I wanna see your room. I've never seen it.  
>CHARLIE: That's not a good - -<p>

Kirby runs to the stairs, practically tripping over her own feet on the way but she makes it. She makes it half way up and then she crawls the rest of the way. Charlie facepalms himself in embarassment.

CHARLIE: Jusssst play it cool, Charlie...

INT. CHARLIE'S ROOM - CONT'D  
>Kirby bursts through the door and looks directly at the bed.<p>

KIRBY: Oh, it looks so comfy!

She jumps onto it flat and rubs her arms around.

Charlie enters, a bit ashamed of his dirty room so he cleans things up while she's in there.

CHARLIE: Now Kirby, you can't stay here so we can only talk for maybe 30 minutes.

He looks back. She's already knocked out. He puts down the sock he was just picking up and sighs.

CHARLIE: Shit.

The gentleman side of him comes out and he places an extra blanket over her as the drool spills from her mouth and onto his sheets. Disgusted as he is... he can't help but think it's kind of adorable.

INT. CHARLIE'S BATHROOM - CONT'D  
>Charlie enters his bathroom and takes out his medication then takes a couple of pills. He places it back in the medicine cabinet - - JILL STANDS BEHIND HIM. He JOLTS AROUND - she's gone. The heart inside of his chest pounds rapidly ... he clutches it in utter fear.<p>

CHARLIE: What the fuck?

INT. CHARLIE'S LIVING ROOM - CONT'D  
>Charlie makes his way down stairs and sits back down on his couch then pulls over the blanket already there on top of him. His phone goes placed onto the table next to him and he tries to get comfortable there while he can. Just then... the drugs kick in...<p>

CHARLIE: There's that sweet numb feeling...

And his eyes close.

_**95 reviews**_ for episode 8.  
><strong>a)<strong> What was your favorite moment from this episode?  
><strong>b)<strong> Which character had the best dialogue/quotes this episode? And which pieces of dialogue in particular?  
><strong>c)<strong>Who deserved at least one "numb" moment the most in this episode?

* * *

><p><strong>Do not forget<strong> to add this story to your **story alerts** & your **favorites!**

**Feel free to send me questions for the upcoming Q&A!  
><strong>


	15. Jenny's Poem Book: Page 74

Dear Poem Book,

I wish not to mislead you with thoughts formed into lyrical rhymes and emotions but this truly is me today. Something else written by someone who apparently was in a very similar situation to me. And now, I have the greatest of joys to be finally out in the open with my Trevor. So to express my feelings, the immortal words of Paramore:

I'm in the business of misery,  
>let's take it from the top.<br>She's got a body like an hourglass **it's ticking like a clock.**  
>It's a <strong>matter of time before we all run out,<strong>  
><strong>When I thought he was mine she caught him by the mouth.<strong>

I waited eight long months,  
>She finally set him free.<br>I told him I couldn't lie he was the only one for me.  
>Two weeks and we caught on fire,<br>**She's got it out for me,**  
><strong> But I wear the biggest smile.<strong>

Whoa, I never meant to brag  
><strong>But I got him where I want him now.<strong>  
>Whoa, it was never my intention to brag<br>**Just steal it all away from you now.**  
><strong>But God does it feel so good,<strong>  
><strong> Cause I got him where I want him now.<strong>  
>And if you could then you know you would.<br>Cause God it just feels so,  
>It just feels so good.<p>

Second chances they don't ever matter, people never change.  
><strong>once a whore you're nothing more, I'm sorry, that'll never change.<strong>  
>And about forgiveness, we're both supposed to have exchanged.<br>I'm sorry honey, but I'm passin' up, now look this way.  
><strong>Well there's a million other girls who do it just like you.<strong>  
><strong>Looking as innocent as possible to get to who,<strong>  
><strong> They want and what they want.<strong>  
>It's easy if you do it right.<br>Well I refuse, I refuse, I refuse!

Whoa, I never meant to brag  
>But I got him where I want him now.<br>Whoa, it was never my intention to brag  
>Just steal it all away from you now.<br>But God does it feel so good,  
>Cause I got him where I want him right now.<br>And if you could then you know you would.  
>Cause God it just feels so,<br>It just feels so good.

I watched his wildest dreams come true  
><strong>Not one of them involving you<strong>  
>Just watch my wildest dreams come true<br>Not one of them involving - -

Whoa, I never meant to brag,  
>But I got him where I want him now.<p>

Whoa, I never meant to brag  
>But I got him where I want him now.<br>Whoa, it was never my intention to brag  
>just steal it all away from you now.<br>But God does it feel so good,  
>Cause I got what I wanted now<br>And if you could then you know you would.  
>Cause God it just feels so,<br>It just feels so good.


	16. Episode 08: Dancing in a Burning Room

****When reviewing, please make sure the reviews pertain to each designated numbered section. And be sure to answer the questions at the end. Thanks much!****

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_308 - Slow Dancing In a Burning Room_

1.  
>EXT. BARN - NIGHT<br>TITLE CARD: April 2011  
>A BLACK CLOAK floats passed and down into a large field of grass, speeding off into the night like a demon from hell. SHERIFF RILEY CHASES AFTER the person in a GHOSTFACE costume.<p>

Dewey sprints at full speed while this Ghostface character is like the wind, way ahead of Dewey. The struggle to remain upward begins in Dewey's knees but he refuses to give up so easily. He reaches for his gun and unholsters it, pointing ahead.

DEWEY: I said FREEZE!

Ghostface looks back to see the gun in Dewey's hands pointed directly at him - - he begins to run even quicker.

DEWEY: This is your final warning!

Ghostface doesn't heed his threads... Dewey stops running and pauses, holding his breath to get a steadier aim... AND FIRES. The bullet whizzes passed Ghostface's leg - - the wind topples their balance and they come CRASHING DOWN onto the earth's floor.

Dewey keeps his gun drawn as he advances forward. Dewey kicks over the downed Ghostface and points the barrel directly in their face.

GHOSTFACE: Don't shoot!  
>DEWEY: Shut up! Take off the mask!<br>GHOSTFACE: It wasn't me, I swear!  
>DEWEY: Take off the fucking mask!<p>

Ghostface pulls off the mask to reveal - - NICK.

NICK: Please, please!  
>DEWEY: Did you stab my wife? !<br>NICK: I didn't do anything - -  
>DEWEY: Did you stab my wife, yes or no? !<br>NICK: No, I don't know anything! I just came to the Stab-A-Thon, I just came!  
>DEWEY: Then why didn't you run away with the rest of them?<br>NICK: I just wanted to see what happened, I just wanted to see!  
>DEWEY: Why'd you run? !<br>NICK: I panicked! I'm sorry!

Dewey holsters the gun and looks back at the barn. Gale's being loaded into the ambulance - - he looks back down at Nick.

DEWEY: (beat) Get up.

Nick quickly abides and Dewey takes out his handcuffs.

NICK: Whoa, whoa, what's this all about?  
>DEWEY: (cuffing him) You have the right to remain silent. Anything you do or say - -<br>NICK: You can't arrest me! You don't have evidence!

Dewey continues the Miranda Rights as Nick tries to struggle... but he knows it's pointless.

NICK: I don't have a knife or blood on me or anything! Aside from the scratch of the bullet passing me by, man! What the fuck!  
>DEWEY: You're going into custody until further notice.<br>NICK: This is bullshit!

Dewey grabs Nick by the arm and forces him back up the field toward the barn.

SMASH TO BLACK.

* * *

><p>MAIN TITLES:<br>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)  
>and<br>AMC CHANNEL present (a dark, bloody basement)  
>Starring<br>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)  
>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)<br>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)  
>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)<br>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)  
>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)<br>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)  
>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)<br>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)  
>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on &amp; the ON AIR light on)<br>with  
>SHERIFF DWIGHT RILEY &amp; GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)<br>and  
>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)<p>

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

* * *

><p>2.<br>INT. CHARLIE'S ROOM - MORNING  
>TITLE CARD: November 2010<br>Kirby lays out cold on Charlie's bed... and then her nose begins to widen... sniff... sniff... she springs up and her eyes pry themselves open...

KIRBY: Bacon?

INT. CHARLIE'S KITCHEN - CONT'D  
>Kirby enters the kitchen and looks onward... Charlie is at the stove preparing breakfast. Bacon in one pan, eggs in the other, pancakes and even sausage top it off. She wipes her eyes to make sure she's seeing things clearly... he's even wearing an apron.<p>

CHARLIE: Morning. Take a seat, it's almost done.

Kirby sits at the island and continues to look on. She's confused as ever.

KIRBY: What happened last night? Did we - -?  
>CHARLIE: Oh hoo oooohhh, no! You came over, drunk.<br>KIRBY: That's how it usually starts.  
>CHARLIE: And then you passed out on my bed. I slept on the couch.<br>KIRBY: Well that one's new.  
>CHARLIE: You wanted to talk about something. You were coming home from a party. Ring any bells?<p>

Kirby's ready to respond... but then she sees something in Charlie in that moment... she knows if she answers truthfully, he may look at her in a different way... and in this moment... she doesn't want that.

KIRBY: I was just drunk off my ass. I was probably full of shit. (coughs) Yeah, that.  
>CHARLIE: Oh. Well, either way, glad you came.<p>

He fixes her a plate and sets it on the island in front of her with a fork and knife.

KIRBY: Charlie... you're too nice.

He smiles and they share a quite cute moment...

KIRBY: (clears throat) I don't wanna push my luck or anything but uh... orange juice?  
>CHARLIE: OH! That's right.<p>

Charlie slides over to his fridge and pulls a carton out. Kirby laughs... and just then - - "Wouldn't It Be Nice" by the Beach Boys bursts on. [youtube. com/watch?v=ALaajR2Wcjk]

3.  
>MONTAGE:<br>The song continues...  
>- [0:06 - 0:15] Tess and Roy get into an argument that Tess is obviously winning... Roy puts his head down for a moment... and returns fire with everything he's got. She backs down instantly... and just like that, things are fixed again.<br>- [0:16 - 0:35] Jenny looks on at Trevor... he smiles... he holds onto her hand... and they both exit a building and out into the open... as they continue on, people stop and watch them go by. Olivia looks up from her meal and sees them go by as well... a carrot drops from her mouth in shock.  
>- [0:36 - 0:49] Charlie and Kirby fight for an apple in the lunch line. The cashier smacks her hands and they stop... Kirby than secretly takes the apple and winks at Charlie victorious.<br>- [0:50 - 1:05] Marnie and Niley laugh together at lunch while Jenny is away...  
>- [1:06 - 1:20] Robbie bumps into Nick out in the quad... Nick nicely moves out of the way and continues on. Robbie stops for a moment and looks back at him leaving...<br>- [1:20 - 1:36] Mr. Leeds makes his way down the hallway, nodding politely as kids pass by... Chelsea's hand interwines with his... and she looks up at him with a devilish smile... in his hands as he goes by, a stack of fliers for something called the SURVIVOR'S CLUB.  
>- [1:37 - until end] Jill exits the cafeteria and looks on... and there they were... Jenny and Trevor... out in the open... without a single care in the world. Jill literally drops her tray on the floor as everything around her begins to spin. CLOSE IN on her face as she's completely floored by this new discover... ZOOM OUT at the same face... now she sits in her room as she stares out the window... we then twirl around her... days pass by outside the windows...<p>

TITLE CARD: December 2010

And she remains as the song fades out... Kate enters from behind and slowly enters.

KATE: Jill? Dinner's ready.  
>JILL: I'm not hungry.<br>KATE: You haven't eaten in weeks.  
>JILL: I'm - not - hungry.<br>KATE: You HAVE to eat.  
>JILL: Then leave me a plate, I'll get it later.<br>KATE: Are you having a Bella moment?  
>JILL: What?<br>KATE: You know in New Moon when Edward leaves Bella and she stares out the window for months and the seasons change outside her windows yet she still remains in the same clothes? Well, it's different here considering you and Trevor have been broken up for a while now and it's only been weeks, not entire seasons - -

Jill slowly turns around in her chair and gives her the blankest of looks.

JILL: Don't ever... compare me... to Bella.  
>KATE: (smiles) I'll bring you that plate.<p>

She spins back around and looks out the window again.

JILL: Psh. Bella. So fucking helpless. I'll show you how helpless I am.

4.  
>CUT TO:<br>INT. WOODSBORO HIGH - HALLWAYS - THE NEXT MORNING  
>Roy makes his way onto campus, tired from a night of who knows what. As he passes by mindlessly, the girls from all around stare as he goes by. This is an all too familiar feeling... he stops in the middle of hall and looks around - - all their heads duck back down.<p>

ROY: Interesting...

He continues down another hallway and sees a giant paper posted onto his locker... he comes closer... "it's over" written in big bold letters. He rips it off and reads it closer... it's definitely Tess' hand writing.

ROY: What?

Marnie approaches from behind.

MARNIE: Hi Roy.  
>ROY:... hi?<br>MARNIE: So how are you?

He flashes the note left to him towards her. She goes into immediate, fake nursing mode and caresses his head.

MARNIE: Aw, I'm so sorry.  
>ROY: You know what, it's okay.<p>

Roy opens his locker, shrugging her off in the most politely way possible and starts taking out what he needs. Marnie stands by...

MARNIE: Anything I can do?  
>ROY: No, Marnie, you can go back to avoiding me. Ya know, just like when I was taken?<br>MARNIE: Hey, I just came to say hello, I had no idea that she - -  
>ROY: Sure, Marnie. Sure.<p>

Roy slams his locker and walks off. Marnie sighs and stays behind as he goes... Niley joins her.

NILEY: That's not gonna work, ya know? He's the type of guy who needs space.

Marnie's eyes go wide like a lightbulb just exploded in her head and she slams Niley into the locker.

MARNIE: You're his best friend, right? !  
>NILEY: (scared to answer) Um, yeah?<br>MARNIE: Then you should know what he likes. The type of girls and stuff? !  
>NILEY: I guess?<br>MARNIE: Then help me!  
>NILEY: Help you with what?<br>MARNIE: Help me be the girl he wants!  
>NILEY: That's crazy, do you hear yourself?<br>MARNIE: Is it? IS IT? He's the last dignified guy in this entire school who might actually be worth something and gives me a tiny bit of attention!  
>NILEY: That sounds desperate.<br>MARNIE: Help me.  
>NILEY: Okay but it's not going to work. If he liked you, he would've done something already.<p>

Marnie lets go of Niley and steps back.

MARNIE: Bad timing is all. Perfect timing would be now. THE WINDOW IS OPEN. Just help me say the right thing that'll crack the code into his heart.  
>NILEY: That's some cheesy teen novel shit right there, Marnie.<br>MARNIE: I blog, it's within my character! So hey, Secret Santa at my house this weekend.  
>NILEY: I'll be there.<br>MARNIE: Okay. And if you're my Santa, please make Roy my gift!

Marnie squeals and skips off. Niley disgustingly turns away and continues on the other way.

CUT TO:  
>INT. WOOD SHOP CLASS - DAY<br>Roy enters, the note still in hand while his eyes scan around the room. Robbie is in the back, drilling a hole into a piece of wood.

ROY: Have you seen Tess?  
>ROBBIE: Nope, I've been here all morning finishing up Mr. Mendoza's chair project.<br>ROY: (sighs) This is pointless.  
>ROBBIE: That's what I said! I was like, c'mon, we're not gonna be carpenters, we have robots for that stuff now.<br>ROY: No.

Roy puts the paper into Robbie's work space and he accidentally drills a hole into it. He lifts the lever and reads it.

ROBBIE: She left you a note?  
>ROY: On my locker before school, where everyone could see it.<br>ROBBIE: That's harsh.  
>ROY: Now every girl here knows I'm single and wants me again.<br>ROBBIE: Why is this a problem?  
>ROY: It's not a problem, it's an annoyance. I feel like a Jonas Brother.<br>ROBBIE: Justin Bieber's the new thing.  
>ROY: Whatever, I gotta go. I gotta find Tess.<br>ROBBIE: For what?  
>ROY: What do you mean, "for what?" She left me this note.<br>ROBBIE: Sounds pretty straight forward.  
>ROY: Well I would like a reason.<br>ROBBIE: Girls don't make sense. What's the point of a reason these days?  
>ROY: My sane stability?<br>ROBBIE: Mm, that's overrated.  
>ROY: Anyway, I'll see ya.<br>ROBBIE: Buh bye.

Roy grabs the note as Robbie goes back to drilling holes.

5.  
>CUT TO:<br>INT. KIRBY'S CAR - MORNING  
>Kirby drives along as Jill stares blankly forward. Olivia's in the back, texting. Kirby can't take this odd silence any longer...<p>

KIRBY: You know who's cute? Charlie.  
>OLIVIA: Where the hell did that come from?<br>KIRBY: We've been kinda talking recently. Jill, what do you think? Charlie: cute or not?  
>JILL: I don't know.<br>KIRBY: You've known him the longest out of everybody. You've had to at least give him a look over.  
>JILL: No.<p>

Kirby looks into her rearview in which she catches Olivia rolling her eyes in a way not to continue pressing her. Kirby rolls her eyes back in defiance.

KIRBY: So how long are you going to be like this? Weren't you the one who thought they were together in the first place months ago?  
>JILL: You convinced me otherwise.<br>KIRBY: Don't listen to me.  
>OLIVIA: Seriously, don't listen to her.<br>KIRBY: We have to go out. Get your mind off of him. He wasn't worth the trouble before and he's still not.  
>JILL: It's not just him that bugs me. It's Jenny. We're friends.<br>OLIVIA: Were friends.  
>JILL: We still are.<br>KIRBY: I was gone for the falling out but I'm pretty sure you're not friends anymore. (beat) What classifies as a friend to you anyway?  
>JILL: Nothing. Nobody's worth having as a friend.<br>KIRBY: I know that's just melancholy speaking but this friend could pull over and let you walk your ass to school. (beat) You gotta come outta your room, Jill.  
>OLIVIA: It's not healthy.<br>KIRBY: What do you do in there all day anyway?  
>JILL: (beat) Think.<br>KIRBY: About what?  
>JILL: (takes an even longer beat) I wanna open a business.<br>KIRBY: Well that's unexpectedly positive.

CUT TO:  
>INT. CAFETERIA - LUNCH<br>Roy sits in the middle table by the exit of the lunch line. He keeps his eyes glued there... if there's any place he'll catch Tess... it's here...

But the hour goes by in a daze. People come, go, sit and leave and exit the lunch line with no sign of Tess. And before Roy notices... he's the last one there, and more than likely late for class.

INT. WOODSBORO HIGH - HALLWAYS - AFTER SCHOOL  
>Charlie and Freddy walk down the halls with fliers in a hand and a stapler in another. They remain on seperate sides, stapling the paper every so feet onto the wall.<p>

FREDDY: Instead of the Christmas horror movie marathon, we should have - -  
>CHARLIE: Freddy, if you suggest another - -<br>FREDDY: A NIGHTMARE ON ELM STREET MARATHON!  
>CHARLIE: Okay Freddy, in time.<br>FREDDY: (drops the Freddy voice) But seriously, when are we going to have one?

Charlie twirls around in disbelief...

CHARLIE: That's not your actual voice? !  
>FREDDY: Of course it's not, who the hell talks like that?<br>CHARLIE: This brings up so many more questions...  
>FREDDY: Well look, I'm moving in February so if we could just... once have the marathon, it'd make me really happy.<br>CHARLIE: (beat) Sure, we'll have it for you, Freddy. (waits) What's your real name?  
>FREDDY: (back into Freddy voice) Frederick!<br>CHARLIE:... okay than.

INT. LIBRARY - SIMULTANEOUS  
>Mr. Leeds stands before a group of a few women and men sitting in a circle amongs the books.<p>

MR. LEEDS: Hello everyone and welcome to the first Survivors Club meeting. I'm Mr. Leeds in case that needed an introduction. Through the holidays, teenagers often feel depressed. This is actually known as SAD, a seasonal depression disorder. And through the tough times, whether they're things you've gone through and feel like you have to relive or if it's... high school stuff... I wanted to remind each and everyone of you that you're a survivor.

A hand shoots up in the back of the class. His head turns to see who it is... and then he ignores it. He continues talking as Chelsea than stands up for him to see.

CHELSEA: Hey! Over here! Question! Hellooooo, don't ignore me.  
>MR. LEEDS: - - as I am a survivor myself as I have gone through my own traumatic experiences over the last year.<br>CHELSEA: I just wanted to know if I can be here since I'm dead. Does that make me a survivor? Or am I not eligible?  
>MR. LEEDS: - - it was a horrific incident with one of the students at this school that I can't fully divulge into because it's still under investigation - -<br>CHELSEA: (turns to the girl next to her) He shot me in the head, blamed it on myself as suicide. Can you believe that?

A young boy enters the room and appears to be lost. Mr. Leeds' attention crosses over to him.

MR. LEEDS: Hi. You looking for something?  
>CLARK: My name's Clark. I was just looking for the Survivors Club meeting.<br>MR. LEEDS: (points where Chelsea is sitting) Please take a seat.

Clark nods and walks right over.

CHELSEA: Oh hell no, you better not have this mother fu - -

Clark sits on top of her and she's silenced. A headache inducing chatter now is relieved from Mr. Leeds' mind.

INT. CINEMA CLUB - SIMULTANEOUS  
>Robbie sits in a char while fast forwarding through a movie on the VCR. Nick enters behind him and notices Robbie is there... he instantly feels the need to walk back out. Robbie turns and notices him... but goes back to his TV. Nick drops off the stapler and quickly heads back for the door. Robbie watches him in the reflection and spins in his chair.<p>

ROBBIE: Did yooooou get all those fliers up?  
>NICK: (a bit rebellious) Yes.<br>ROBBIE: And did yoooou drop off the stapler?  
>NICK: It's in the top drawer.<p>

Nick goes for the door handle and Robbie pries with another question.

ROBBIE: Did you uh... have plans for Christmas?

This is a really random question... Nick knows what Robbie is up to now.

NICK: I'll be busy. Thanks for taking interest.  
>ROBBIE: Oh, what about New Years?<br>NICK: Busy than, too. See ya.

Nick exits with bitter disdain... Robbie puts his head down... he's ashamed and it's written all over his face. He looks back up as if he has something else to say... maybe he even might run out... but it's useless now... he turns back and looks at the TV.

CUT TO:  
>INT. MARNIE'S LIVING ROOM - NIGHT (A COUPLE NIGHTS LATER)<br>Marnie sways open the door with a huge smile on her face and her arms out open wide, egg nog in one hand and a Santa hat on her head. "Jingle Bell Rock" bursts through the speakers of her home.

MARNIE: Heeeeeeeey!

Niley looks almost frightened staring onward with the presents in her hand up to her chin. She takes greater note of Marnie's home - - the Christmas thing is overboard here, much like her own home... but even this outdoes it.

NILEY: I thought I liked Christmas.  
>MARNIE: Presents by the tree.<p>

Niley looks around at all the people in the room. She suddenly feels like a small and unimportant guest.

MARNIE: Where's Jenny?  
>NILEY: No idea.<br>MARNIE: Oh... well don't be shy!

Marnie charges behind her and pushes her into forcefully make her mingle.

MARNIE: Everybody, this is Niley. Niley, this is everybody. Get to know their names, okay?  
>NILEY: (shyly) Okay.<p>

Marnie bounces off into the kitchen as Niley stands before everyone... as they all stare up at her in silence.

NILEY: So... who's Keegan? I'm your Secret Santa. (uncomfortable, awkward stoner laugh) Heeeey.

6.  
>EXT. PARK - NIGHT<br>Roy sits at the swing set, the moon shining above him giving him enough light to see but not enough to consider it bright. He can see a girl coming in the distance toward him... and she comes into the light... but it's not Tess.

JILL: Hey.  
>ROY: (sighs) Hi.<br>JILL: Can I sit?  
>ROY: Sure.<p>

Jill sits on the swing next to him and hangs her head on the side-rope.

JILL: Life's shitty.  
>ROY: Tell me about it.<br>JILL: I'm sorry about Tess.  
>ROY: (beat) I'm sorry about Trevor.<br>JILL: Trevor was an obvious mistake. Tess seemed real nice.  
>ROY: No... not really. She had problems... has problems.<br>JILL: Everyone has problems.  
>ROY: (chuckles) Not like her.<p>

CUT TO:  
>INT. MARNIE'S LIVING ROOM - SIMULTANEOUS<br>Marnie answers the door again and there stands Jenny... with Trevor. Marnie's smile instantly vanishes... but she plays good hostess and puts it back on.

MARNIE: Welcome! Hi Jenny. Trevor.  
>TREVOR: Hi little Marnie.<p>

He pats her head as they enter. Jenny takes her presents and places them at the tree.

MARNIE: We actually already opened presents.  
>JENNY: Oh...<br>MARNIE: But you can give out yours...  
>JENNY: Okay.<p>

Trevor looks up and notices Niley giving him the dirtiest of looks. He smiles and nods politely... but the uneasy feeling can't be shaken.

INT. PARK - NIGHT  
>Jill and Roy laugh it up at the swings, now fully cozied up to each other.<p>

JILL: Why are you so easy to talk to?  
>ROY: Because I don't intrude. I listen. If people want to tell you something, you'll find they'll tell you and you don't have to ask. Nine times out of ten, at least.<br>JILL: What about that one out of ten that doesn't?  
>ROY: Hopefully their problem isn't too big.<br>JILL: (smiles) Hopefully. (beat) So Tess never left any warning signs, she just left?  
>ROY: Oh no, I knew this would happen. We were slow dancing in a burning room from the start.<br>JILL: (tilts her head) What does that mean?  
>ROY: It's a song. John Mayer. Basically... it's about a couple who are fighting off their inevitable end. They're dancing in a room that's about to go up in flames with them in it. Just like their relationship.<br>JILL: That's a beautiful way of seeing the ending of a relationship.  
>ROY: Doesn't have to be a relationship. Could be anything. If something is about to end... and it's dragging out... that slow dance with the first spark of the flame is the sign it's all over. Just depends on either if you leave the room or if you stay in it... let the fire consume you. There's something poetic about those words. A slow dance is graceful... takes it's time... intimate... but despite the intimacy, there's a foreboding image of flames around them that tells us this won't end well... fire. Hot... burning... turns things to ashes where then it's done for good. Slow dancing in a burning room.<br>JILL: I kinda feel like that's my life.  
>ROY: That's the funny thing about beautiful word play, it applies to everyone and everything. Kinda like horoscopes.<p>

They both chuckle and have an elongated stare towards each other... Jill tries to break the tension...

JILL: Would you like to come over?  
>ROY: Sure.<p>

CUT TO:  
>EXT. MARNIE'S BACKYARD - NIGHT<br>Jenny and Trevor step out into the cold. Jenny shivers and looks up into Trevor's eyes.

TREVOR: I'm gonna head out.  
>JENNY: What? Why?<br>TREVOR: I'm not wanted here.  
>JENNY: Baby, c'mon.<br>TREVOR: Seriously, I can feel the hate coming from every direction. It's uncomfortable, I'd rather just go home and I'll see you tomorrow night.  
>JENNY: (sighs) You sure?<br>TREVOR: Yeah, you go have fun.

Jenny smiles at Trevor then plants a kiss on his lips.

JENNY: I love you.  
>TREVOR: I love you, too.<p>

7.  
>INT. DINER - NIGHT<br>Kirby and Olivia sit near the window as they look at the menus. Olivia is still glued to her phone.

KIRBY: That baked potato soup sounds delicious, what do you think?  
>OLIVIA: Sure.<br>KIRBY: Who the fuck are you texting?  
>OLIVIA: Joseph. He's upstate with my other parent for the holidays. I'm trying to keep him company.<br>KIRBY: "With your other parent." Wow, that's disownment if I ever heard it.

Kirby notices the waitress coming towards them... LYNN. She places the menu directly over her face.

LYNN: Hey guys, what can I get for (notices Kirby) yoooou?  
>KIRBY: (from behind the menu) Can I please start off with the baked potato?<p>

Olivia watches with her mouth open ... she snatches the menu away from her. Lynn's eyes go wide.

LYNN: Oh! Hi... Kirby.  
>OLIVIA: (grins) You know each other?<br>KIRBY: (nerves rising) Oh, psh, yeah, I know everyone!  
>OLIVIA: Really? Where'd you meet, (looks at her nametag) Lynn?<br>LYNN: At a party.  
>OLIVIA: Oh and was Kirby inebriated at this occasion?<br>LYNN: I don't know, actually. (looks directly at Kirby) She didn't stay long enough for me to find out.

Kirby smiles... "shit."

OLIVIA: This is interesting. Actually, it seems like you two need to catch up with each other.  
>KIRBY: Please don't do this to me.<br>OLIVIA: I have to go and... I'm sure you're almost off work, right?  
>LYNN: In just 15 minutes.<br>OLIVIA: How conveniant, Kirby!  
>KIRBY: (straight faced, I'm gonna kill you if you leave, look) YAY.<br>OLIVIA: Well, as they say in Mexico: adios!

Olivia grabs her purse and quick paces towards the door. Lynn smiles down at Kirby... then sits down across from her. Kirby awkwardly smiles... trying to think of the best explanation possible... she then chuckles.

KIRBY: This is silly, I'll just go.  
>OLIVIA: Actually, it's Woodsboro city regulation that a patron who at least orders a drink must pay for it also. Seeing as how you did in fact order a drink when the hostess sat you... and I'm your server... it might be awhile before you get it.<br>KIRBY: (gulps) Is that so?

8.  
>CUT TO:<br>INT. JILL'S LIVING ROOM - NIGHT  
>Jill and Roy enter quietly. Jill looks around sneakily to see if her mother is anywhere in sight... she's in the other room with the nightly news on... she turns her head back around and Roy is directly in her face... nose to nose... Roy smiles, trying to make light of the situation... Jill smiles and bites her lip then takes a step back.<p>

JILL: (whispers) Go up to my room. I'll get you something to drink. What do you want?  
>ROY: (shrugs &amp; whispers) Coke?<br>JILL: K.

Roy smiles and tip toes up the stairs as Jill heads to the kitchen. She looks in on her mom watching TV but pays no attention to it as she tries to be as quiet as possible... and then it says something that totally catches her ear.

NEWSCASTER: Months after a horrific attack on an ambulance crew, DJ Hiraldo, an EMT in Colorado is now finally showing signs of waking up from his coma.

The soundtrack THUDS. Jill slowly turns her head and comes towards the TV behind Kate sipping on a Scotch...

NEWSCASTER: DJ was burned on 95 percent of his body, after what investigators have been looking at for 6 months, declared an official homicide crime scene. Speculation first believed that it was a horrible accident until 2 months later, they positvely identified one of the victims of the wreck as Patrick Yorba.

Jill mouth slowly drops and tears flow into her eyes... THE IMAGE OF THE MAN TOPPLING OUT OF THE VAN IN FLAMES COMES INTO HER MIND... AND THEN SHE REMEMBERS LETTING HIM BURN... now she's back to reality, watching this horrific moment play out before her.

NEWSCASTER: Yorba's home residence was burned and an ambulance was dispatched to his house. Mysteriously, the audio recording of the 911 call was deleted from the databases immediately after it was made. This appeared to also have happened numerous times before so investigators are unsure if they should link these two incidents as evidence into the case.

Jill begins to get weak and she holds onto the counter...

NEWSCASTER: DJ Hiraldo's family are hopeful that they will find the killer of his colleages, as well as Patrick Yorba's who is believed to have been on the stretcher. The other bodies were burned so badly that any evidence in the skeletal structure or organs would be impossible to find. Hiraldo's family is counting on him to finally wake up and re-tell the incidents of that day. Doctors believe it may be another 2 weeks before he finally does come to and he can be taken off the machines that his family paid nearly half a million dollars to keep him alive in hopes he'd awaken - - and now, their dreams are coming true.

THE TV TURNS OFF. Kate slowly sits up from the couch as Jill makes her way up the stairs in a hushed hurry.

9.  
>INT. JILL'S ROOM - CONT'D<br>Jill enters and looks at Roy sitting on her bed... her mind is racing... she's in a panic...

JILL: I... I... I need you to go.  
>ROY: Your mom coming?<br>JILL: No, I just-just-just need you to leave, please?  
>ROY: Jill, you're shaking. What's wrong?<br>JILL: I can't talk about it, please just go. Out the window, if you can.

Jill points, her hand a wobbly mess. Roy stands up and comes close in on Jill.

ROY: You can tell me.

Jill goes weak and falls into Roy's arms.

ROY: Jill?  
>KATE (O.S.): Jill, is someone in your room?<p>

Jill springs back up and rushes Roy to the window.

JILL: Go, go, go.  
>ROY: (as he's jumping down) I'm gonna call you.<br>JILL: Just go!

Roy runs off and Jill slams the window shut then returns to her bed, making her self neat again and wiping the tears from her eyes. Kate enters... drunk.

KATE: I heard someone.  
>JILL: (smiles) No, mother. Must be the drinking.<br>KATE: Don't you talk to your mother that way... but you're probably right. Go to bed.

Kate exits and closes the door. JILL JUMPS UP AND NEARLY RIPS HER OWN HAIR OUT. She paces across the room in a blind state of inquiry.

JILL: Oh my God... oh my God, oh my God...

Her head is thumping... her face is turning red and she stops at her dresser, slamming her hands down and looks in the mirror, trying to calm herself.

JILL: This isn't happening. This isn't happening. This isn't happening.

Out the corner of her eye in the upper part of her mirror she then sees Olivia walk by in her room across the way. She turns around and looks back, noticing her blinds are open. She walks over to close it so she can't be seen. And then Trevor walks passed in Olivia's room...

Jill freezes. Even with all that she's going through in this moment... the hysteria, the rage, the unknown future... she goes completely still... and her eyes wander into Olivia's room beyond hers... Trevor smiles onward... a bra flings into his face and she smiles catching it... then a topless Olivia comes forward, pressing her body against Trevor's... he backs up, taking her with him and onto the bed. Jill can't believe what she's seeing... and then her hands begin to shake again... the tears form... her face turns a firey red... and the veins inside her neck pulse... SHE SHUTS THE BLINDS.

She backs away from the window before she literally fucking EXPLODES... she would scream if she wasn't so infuriated... so in shock... so beyond confused. She SLAPS herself...

JILL: Wake up.

SHE SLAPS HERSELF AGAIN, letting the tears pour.

JILL: WAKE UP, JILL!

SHE SLAPS HERSELF A NEAR DOZEN TIMES BEFORE SHE STOPS. She falls over, now weak from the own pain she's inflicted...

JILL: THINK... C'MON.. YOU CAN DO THIS... JUST THINK...

Inside her head is like an alarm sounding off but with loud trumphets over and over again. She can literally feel her mind twisting from the pain... as if someone is taking her brain and squeezing down...

The small corners of the floor then catch ablaze... she watches as every corner's fire begins to get bigger... THE WALLS AROUND HER THEN ERUPT IN TALL FLAMES. She's in the dead center, watching the fire reach up and towards the ceiling. The sirens in her head won't stop. The pictures burn off and float to the floor... her mirror cracks and breaks into a thouand pieces... her dresser topples over and EXPLODES... she remains still... THE SIRENS GET LOUDER... she covers her ears...

And then her closets falls apart and onto the floor... she looks up... and there it is... the Ghostface costume... her mind suddenly becomes clear... and the flames extinguish... and the room goes back to normal. Her eyes remain transfixed... a sudden calm comes over her... ONE LAST TRUMPET SOUNDS OFF AS THE SIREN...

SMASH TO BLACK!

**110 reviews**... Coming up, **THE - MUST - SEE - EPISODES - THIS - SEASON!**  
>The mid-season finale EVENT. Only <strong>HALF WAY<strong>until the series finale!

a) What was your favorite singular moment from this episode?  
>b) Which character had the best dialogue this episode? And which quotes in particular?<br>c) Other than Jill, who is "slow dancing in a burning room" and why?  
>d) At this point in the season, what has been your favorite storyline so far?<p>

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	17. Tumbling with Niley: Archive Dec 2010

_**Tumbling with Niley - Archive: December 2010**_  
>Yaaaaaaaaay, i luv Christmaaaaaas! i got the best presents ever thsi year and i wanted to shair what i got with you tumblr world! here is my top 5 -<br>_5) Just Dance for the Wii! I luv this gaaaaaime! i'm gonna plaiy it everyday and rack up some high scores. who wants to plaiy w/ mei?_

_4.) Season 1 of Lost on blu-ray! Roy's bin tring to get me into this show 4 4ever so ill finully get to watch it!1_

_3) A squeeky doll! i love this thing, u casn hug it and or poke it or throuw it in the air and everytinme, it squeeks! :)_

_2.0 money! to buy whatever i want! thanks mom, your the best!_

_1) 4 tickets to take whoever i want to go to Disneyland in April! I cant wait! =D_

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**110 reviews for the mid-season finale EVENT!  
>The mid-season finale EVENT. Only <strong>HALF WAY<strong>until the series finale!  
><strong>


	18. Episode 09: Back to Black: Part 1

The following episode(s) are rated TV-MA LSV as it contains scenes of GRAPHIC VIOLENCE, A BRIEF SUGGESTIVE ENCOUNTER and VULGAR LANGUAGE. Also, the content of this episode may be considered disturbing, controversial and immoral. However, it advances one of this season's and the entire show's most crucial plot. If you wish for a summarized version to avoid reading such "depraved, sick and twisted" material, (seriously, an early reader said that lol) please PM me and I will provide you with one. Reader's discretion is advised.**  
><strong>

_309 - Back to Black: Part 1_

1.  
>INT. RILEY'S BEDROOM - NIGHT<br>TITLE CARD: April 2011  
>CLOSE ON a clock on a nightstand - it's 11 PM at night. DOLLY OUT to reveal Gale<br>in bed, reading a novel that she's barely begun to read that she more than likely took  
>up because of rave reviews but alas, she's less than interested in the damn thing. Her<br>reactions read loud and clear as she scoffs, palms her face and laughs loudly at the  
>book's silly concepts. Dewey enters with toothbrush in mouth and a dozen other<br>things he should probably be focusing on, yet time isn't of the essence and he has  
>much to accomplish just moments before bed.<p>

Gale flips through another page and she instantly rolls her eyes. Her glasses spring  
>off from her face and she puts them on the nightstand - she's had enough of this<br>shit. Her husband continues to find his way around the room while juggling a  
>hundred tasks - she's had enough of this shit too.<p>

GALE: Dewey, get in bed.  
>DEWEY: Gale, I gotta finish all this up real quick.<br>GALE: Can't you do it in the morning?  
>DEWEY: Busy day tomorrow, Sid's coming back, you know that.<br>GALE: And?  
>DEWEY: She'll need all of our attention and you know those damn kids<br>and their memorial week pranks - - so the more I do now, the less I have  
>to do in the morning.<br>GALE: I'm gonna say it one last time, Dewey... get in bed.  
>DEWEY: Just one second.<p>

Gale slips under the covers and comfies up to the pillow while resting her head and  
>closing her eyes as if she were some angelic saint instead of the woman she really is.<p>

GALE: Sex has been eliminated for the next week.  
>DEWEY: (under his breath) Not like I was getting any anyways...<br>GALE: (eyes spring open) EXCUSE ME?  
>DEWEY: That's - so - horrible, I need it... everyday?<br>GALE: (closing eyes again, satisfied) That's what I thought.

Dewey drops everything and throws his toothbrush into the bathroom without  
>care of where it lands - - it lands in the toilet - "fuck." Dewey looks back at Gale<br>and then back at the toothbrush... he gets on his tiptoes to make his way back over there...

GALE: LEAVE IT.

It's useless and there's no winning with the wife so he succumbs to the bed where  
>she wants him. He throws his arm around her, cuddling in for the night and she<br>smiles victoriously.

DEWEY:... that was your toothbrush, by the way.  
>GALE:.. I kinda hate you right now.<p>

Dewey leans back over and turns off the lamp then rests back down.

DEWEY: Do ya think Sid is gonna -  
>GALE: Shhhh, no more talking.<br>DEWEY: Well I just wanted to -  
>GALE: No, no, no, sweetie, we're done talking now. Sleep time.<br>DEWEY: But what I have to say -  
>GALE: Nope, nope. Sh, sh.<br>DEWEY: Fine. Geez.

Dewey turns over on his other side to dismay Gale. Not like it matters - - they'd  
>come to this conclusion once they fall into deep sleep anyway. Gale just needs the<br>quiet... but something racks on Dewey's mind that he can't shake. The light from the  
>moon illuminates just his eyes in the dark - - his eyes shift as we can see it's not<br>easy for him to rest.

He reaches over onto the nightstand's drawer's handle and pulls it open slowly. He  
>looks back - - Gale is fast asleep. He continues onward with his hand reaching in. He<br>pulls out a picture frame and looks at it in the moonlight - - him and his sister Tatum at  
>his promotion ceremony. His new Deputy metal shines bright on his new uniform that<br>he wears with a goofish grin as she smiles onward in her pigtails - - looking as if this  
>were mere days before she was murdered.<p>

A knot forms in Dewey's throat and his eyes become teary - - he tries to smile  
>through it and remember her the way she used to be but as hard as he may - - he<br>can't. He can't even remember her voice. Nor can he remember a joke she used to  
>say or the nicknames she had for him or he for her. If he closes his eyes tight<br>enough, he can picture her room the way it used to be - - but that wasn't her. And if  
>it weren't for this picture, he wouldn't even be able to remember her face.<p>

Time has passed for this dear sheriff and within the reflection from the light of the  
>moon onto the glass and onto his skin, he can see the wrinkles forming on his<br>face - - and he realizes that things are just different now. Simpler, quieter, easier... and  
>the days of violence he found himself in are just a thing... of the past.<p>

SMASH TO BLACK.

**MAIN TITLES:**  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

2.  
>FADE IN:<br>INT. ROY'S ROOM - DAY  
>TITLE CARD: December 2010<br>Robbie sits at the computer typing away while Roy lays in the bed with a tennis  
>ball in his hands. He bounces the ball off the ceiling, catching it and throwing it<br>back over and over again. Robbie is a mindless zombie at the computer, not  
>taking his eye off the monitor even for a second... but the sound of that tennis<br>ball sure is annoying.

ROBBIE: Stop it!  
>ROY: Stop what?<br>ROBBIE: That damn noise!  
>ROY: What noise?<br>ROBBIE: The tennis ball, Roy, THE GOD DAMN TENNIS BAAAAAALL!  
>ROY: (catches the ball) That was overstated.<br>ROBBIE: I'm working on a masterpiece.  
>ROY: No, you're not.<br>ROBBIE: You haven't even looked.  
>ROY: There's no need to, it's not a masterpiece.<br>ROBBIE: Could you just fucking look?  
>ROY: (starts throwing the ball again) Nope.<br>ROBBIE: Oh, my God. Rooooy!  
>ROY: I'm concerned, when I'm concerned, I throw the tennis ball.<br>ROBBIE: I've never seen you do that before in my life.  
>ROY: Because I've never been concerned before. Do you think Tess found someone else?<br>ROBBIE: Whoooo gives a fuck?  
>ROY: What are you doing here anyway? I'm supposed to be mad at you.<br>ROBBIE: For what?  
>ROY: You know what for.<br>ROBBIE: No, I don't.  
>ROY: Niley, does the name ring any bells?<br>ROBBIE: What's that have to do with me?  
>ROY: I hate picking sides but ya know, her and I have been friends longer.<br>ROBBIE: Bros before hoes, Roy.  
>ROY: If she finds out you're here, she'll be mad.<br>ROBBIE: I'm your friend, dammit, don't you forget that!  
>ROY: If you and Niley were both falling off a cliff...<br>ROBBIE: You'd pick her, that's great but we're still friends nonetheless.

Roy sits up.

ROY: Okay, what are you working on?  
>ROBBIE: Come over here and look.<p>

Roy jumps off the bed and bends down to look at the computer monirot. He sees an IM from Nick.

ROY: Who's Nick?  
>ROBBIE: Nevermind that. Look at the site.<br>ROY: (reading the web page) Hall Pass with Robbie Mercer.  
>ROBBIE: Brilliant, right?<br>ROY: I don't get it.  
>ROBBIE: I'll be the TMZ of the Woodsboro High halls! I'll catch all the<br>drama on the camera I got for Christmas, upload it to the net and BAM, success!  
>ROY: What drama? Woodsboro High would never work as a show.<br>ROBBIE: Oh, I beg to differ, Roy. Did you see the ratings on our  
>"America's Youth" episode? People are interested in us!<br>ROY: Because they hope a Ghostface masked killer will rip our throats  
>open at any second. Catch that on camera, you'll have people watching.<p>

Roy goes back to the bed and sits upright, throwing the tennis ball at the wall  
>now. Robbie's eyes squint... and he slowly turns around towards Roy...<p>

ROBBIE: Are you plotting a murder spree?  
>ROY: (sneezes) What?<br>ROBBIE: You say shit like that often, are you planning on doing it? This  
>whole Tess disappearing thing has made you rather weird.<br>ROY: Yeah, Robbie, I'm gonna kill everyone. Because Tess left me. Best motive ever.  
>ROBBIE: There's been lesser reasons. Stu Macher never had a motive.<br>ROY: Who would be my accomplice?  
>ROBBIE: (snaps fingers) Niley! No wonder you guys are so attached!<br>You don't want me here because she'll think we're working on plotting  
>against her or something so you don't want her to turn on you! Makes<br>perfect sense!  
>ROY:... you need to stop watching so many movies.<br>ROBBIE: Yeah, she'd have no motive. (turns back around to the computer)  
>And she wouldn't be able to kill somebody.<br>ROY: Really? No motive? You cheated on her with "spirit fingers," and  
>disconnected her from the only friends she had. If anything, she has a<br>better motive than I do. Plus don't forget she burnt down a house with  
>two people inside it with her only suspicion that they killed her pet penguin.<br>She's plenty capable of slicing a mother effer.  
>ROBBIE: That was never proven.<br>ROY: She admitted that long ago, Robbie, where've you been?  
>ROBBIE: (turns back around) You fucking serious?<br>ROY: As serious as a Ghostface attack on you and whoever else would be our targets.  
>ROBBIE: That's not funny, man.<br>ROY: Put that on your little Hall Pass. The fucking internet would be  
>buzzing! Viral marketing, "is a Stab sequel in the midst? A remake, reboot?<br>Cashing in on the new Sidney Prescott book being released?" You'd have  
>an exclusive. Exclusivity, despite it's validity, always sells.<br>ROBBIE: (turns back to the computer) Whatever. You're nuts.

Roy lays back on to the bed and lets out a long breath as if it could clear his  
>mind... but it can't. His thoughts still remain on Tess and he can't help but<br>wonder what went wrong. There was plenty wrong... but what set off the alarm?  
>And where has she been all this time?<p>

ROY: But really, where do you think Tess is?  
>ROBBIE: I wish I knew, man... so you'd shut the fuck about it.<p>

Roy catches the ball and sits up, throwing the ball as hard as he can - - it  
>PLOPS against the back of Robbie's skull and back into Roy's hands.<p>

3.  
>CUT TO:<br>INT. JENNY'S HOUSE - DAY  
>Jenny, Niley and Marnie sit on Jenny's couch while playing a round of Mario Kart<br>for the Wii. Jenny's in the lead while Marnie is in second... Niley is in last because  
>she can't stop running into the walls.<p>

NILEY: This game is hard.  
>JENNY: Nope, I got this.<br>MARNIE: You're going down.  
>NILEY: Can we play something else? I brought Just Dance!<br>JENNY: No, just watch, I'm gonna win.  
>MARNIE: I picked up a turtle shell, you're going DOWN.<br>JENNY: I'm already about to pass the finish line.  
>MARNIE: No, you're not!<p>

Marnie flings the red turtle shell forward and it klomps Jenny's kart off the road.  
>Marnie speeds passed and her character does a victory dance.<p>

MARNIE: Boo yah!

Jenny's bitter... and she turns off the TV.

MARNIE: Hey!  
>NILEY: You promised we'd play Just Dance! I'm good at that game!<br>JENNY: No, we need to do something other than play games. It's the  
>second to last day of 2010, and we're not gonna spend it on the Wii.<p>

Jenny gets up and proceeds to the kitchen to the refrigerator, pouring herself a  
>glass of milk. Niley sighs and pouts her lips, sitting back into the corner of the<br>couch like an angry infant.

MARNIE: (bends over the couch to look back at Jenny) Okay Jersey  
>Shore, what shenanigans do you have in mind for today? I'm surprised<br>you're not with Trevor.  
>JENNY: He's working.<br>MARNIE: Trevor... has a job? Where?  
>JENNY: I don't know, he said he's embarrassed and doesn't wanna tell me.<br>MARNIE: (chuckles) Oh God, that's funny. You're so gullible!  
>JENNY: I find that totally plausible, I'm lucky I work at the theater.<br>Imagine wearing red and yellow suspenders with that spinny hat while  
>dipping corn dogs? I'd be embarrassed too.<br>NILEY: (jumps up with a smile) Hey, that sounds fun. I wanna do that!  
>MARNIE: So you're never gonna question it? That doesn't make you the least bit suspicious?<br>JENNY: No, I trust him.  
>MARNIE: And this is why girls are stupid and get cheated on.<br>NILEY: HEAYYYY!  
>MARNIE: Sorry.<br>JENNY: Look, when you love somebody - -  
>MARNIE: Oh, my God...<p>

Marnie's heard enough and sits back down on the couch, turning on the TV.

MARNIE: Grab your Just Dance, this chick is psycho.  
>JENNY: - - you respect their wishes! There's no funny business going on, I would know.<p>

4.  
>CUT TO:<br>INT. OLIVIA'S ROOM - DAY  
>CLOSE IN on Olivia looking onward, biting her lips with fierce lust and fiery eyes.<br>SLOWLY DOLLY OUT to see she's in just a bikini... then a light flashes. DOLLY  
>OUT FURTHER to reveal Kirby with a camera in hand.<p>

OLIVIA: It looked good?  
>KIRBY: (monotone) Oh baby, oh baby.<br>OLIVIA: C'mon Kirbz, I'm serious. Is it hot?  
>KIRBY: Your swim team calander for the month of August will be the<br>highlight of all of the boys on the swim team's jerkage. Trust me.  
>OLIVIA: Well let's just do a couple more.<br>KIRBY: We've already done 50!  
>OLIVIA: Variety, Kirby, c'mon. I have to be in every pose that I can<br>think of. And then every pose from the Kama Sutra.

Olivia winks and clicks her tongue. Kirby rolls her eyes and continues to take  
>pictures as Olivia gets in various poses around her room. Out the corner of her eye,<br>Kirby looks over out the window to Jill's house.

KIRBY: Have you talked to her?  
>OLIVIA: (in middle of a pose) Talked to who?<br>KIRBY: Your neighbor, asshole.  
>OLIVIA: She's not responding to my texts.<br>KIRBY: (takes the picture) Mine either.  
>OLIVIA: She stays in her room all day. I literally haven't even seen her<br>pass by the window since Christmas break started.  
>KIRBY: Well can we take a break so we can go over there?<br>OLIVIA: Kirby! The sun will go down?  
>KIRBY: And? There's a flash on here.<br>OLIVIA: Natural light is better, trust me. It's more warm looking.  
>KIRBY: (sighs) Olivia, a little 5 minute break to go by and say, "hi, how<br>you doing? You haven't been putting young fat women in a well and  
>asking them to put lotion on, have you?"<br>OLIVIA: What?  
>KIRBY: (rolls her eyes) Silence of the Lambs, c'mon.<br>OLIVIA: I'm sorry, I'm busy thinking about how good I'll look.  
>KIRBY: Oh, ya know what, maybe you should bend over because right<br>now you look like AN ASS.  
>OLIVIA: (laughs) Funny, Kirby. (goes back to straight face) But really,<br>should I bend over? Would that be hot? Thong or bikini? Or boy shorts!  
>Ooooh, I got these new boy shorts, you should totally shoot me in them.<br>KIRBY: I would shoot you in the woods... and not even pretend you're a deer.  
>OLIVIA: Evil, Kirby, I like it. But let's get the necessary shots out of the<br>way while we have this sunlight.  
>KIRBY: You as an easy target and your willingness to play along with<br>my quips is why we're friends, ya know that right?  
>OLIVIA: (blows a kiss) Best buds.<br>KIRBY: But seriously, as soon as the sun goes down - -  
>OLIVIA: We will go talk to Jill Darko, yes.<br>KIRBY: Thank you. Now smile, bitch.  
>OLIVIA: No, no, smiling's not hot. It's that serious look that gets boys off.<br>KIRBY: (sighs) Jesus.

Olivia poses and Kirby quickly takes the photo.

5.  
>CUT TO:<br>INT. JILL'S ROOM - NIGHT  
>Jill sits in the corner of the room, the only light illuminating her is the moon poking<br>in through her shades. It's dark... and quiet, just the way she likes it. She slowly sits  
>up and looks outside... all of the houses around her are lit up in festive joy while<br>she's isolated alone up in her cell. Lights still flash in Olivia's window next door.

She takes a moment to breathe it all in... letting each thought pass through her mind  
>at a rapid speed, so fast that she can't even acknowledge them as they go. She grips<br>the side of the window and hones in on her focus... and then it's all suddenly so clear...

She takes the magazine from her dresser and opens it up to a page she has bookmarked.  
>Emma Watson is in her black feathered dress, smiling at the camera in her boyish<br>haircut with Daniel Radcliffe and Rupert Grint at the premiere. She looks back up out  
>the window... this is it.<p>

INT. JILL'S LIVING ROOM - CONT'D  
>Jill slips on her jacket, covering her down to her now-bare knees and sneaks her<br>way down the stairs. She pokes her head out to the other room - - from there, she  
>can see her mother on the couch with a glass of scotch in hand as she watches<br>TV. Jill continues to the door and slips out into the night.

EXT. STREETS - CONT'D  
>Jill makes her way down the streets as cars drive pass. She keeps her head low so<br>and she walks at a quick pace. It's cold but she doesn't think for a moment to a  
>show a bit of weakness by warming herself.<p>

EXT. WOODSBORO PLAZA - THEATER - CONT'D  
>Jill makes her way to the theater and looks around. It's quiet with not a person in<br>sight. The box office is closed already... she makes her way around the building to  
>the alleyway. She stops at the corner and looks around... it's vacant.<p>

She continues on down the alley and makes her way to a dumpster... her jacket  
>slings off and she hides it behind to reveal a sleek, red mini-skirt underneath. She<br>takes a set of earrings out of her jacket pockets and throws them on, along with a  
>set of matching red heels. She fixes her make up in her compact mirror, giving<br>herself a popping coat of red lipstick. She returns back towards the street and  
>onto the corner.<p>

She waits there... watching cars drive pass... one honks at her as a joke. She feels  
>odd... like she's not doing something right... she leans against the wall of the<br>theater to try and pose something more sexy. Down the other end of the alley, a  
>car squeezes it's way through. Jill looks back as it nears closer. It stops the<br>window rolls down. For all intents and purpose... this is... the CLIENT.

CLIENT: Hey there, baby doll.

Jill slowly leans forward onto the door.

JILL: Hey there.  
>CLIENT: It's cold out there. How about you come inside?<br>JILL: That depends on what you want.  
>CLIENT: Depends on how much you charge.<br>JILL: You tell me. How much am I worth?

He slyly smiles and she coyly smiles back.

CLIENT: You can name your price, honey. (looks her up and down) I just want a taste.  
>JILL: How much do you have on you?<br>CLIENT: (takes out his wallet and quickly counts his money) One thousand, three hundred.  
>JILL: Oh, big boy. I think I like the size of your - wallet.<br>CLIENT: You should see the size of what else I have...  
>JILL: Let me get my coat.<p>

Jill walks back to the dumpster and picks up her jacket. She hauls it back over to  
>the car and throws it in the backseat. She jumps in the front and sits down. The<br>Client then pulls out of the alley...

6.  
>INT. CLIENT'S CAR - CONT'D<br>He turns up the heat on the A/C and turns the radio station to something more  
>pop-like. He's not nervous... he's done this dozens of times. Jill remains confident...<br>she doesn't show a tiny bit of nerves.

CLIENT: So no plans for New Years?  
>JILL: I have plans.<br>CLIENT: Like what?  
>JILL: (rubs his thigh towards his crotch) Big plans...<br>CLIENT: For you and I?  
>JILL: You bet, baby...<p>

She sits back and he continues to drive.

JILL: So where'd you wanna do this?  
>CLIENT: My house is empty for the night.<br>JILL: Oh, honey, that's gonna cost you extra.  
>CLIENT: More than my $1,300?<br>JILL: Sorry. Those are the rules...  
>CLIENT: Okay, I got a ... a bit extra at home.<br>JILL: Now we're talkin'.

INT. CLIENT'S HOUSE - NIGHT  
>The car pulls into the drive way. They both exit and make their way to the front<br>door. Jill leads the way as the Client gets more anxious with every footstep. He  
>drops his keys.<p>

JILL: Let me get that for you...

She bends down and grabs the keys... he watches her playfully bend back up.

JILL: Here.

He takes them... he's already sweating. She steps back, letting him go to the door.  
>They both enter and he takes off his coat and puts it on a rack. He gestures to the<br>room with the couch... her heels click against the marble floor - - he's transfixed with  
>her legs as she makes her way over there.<p>

JILL: In here?

He just nods and slowly makes his way towards her and puts his hand on her waist.

CLIENT: How old are you anyway?  
>JILL: 21.<br>CLIENT: Want a drink, Ms. 21?  
>JILL: Sure.<p>

His hand slides up to her breast - - she slaps it a way.

JILL: Money. And that drink.  
>CLIENT: You got it.<p>

He quickly exits the room and Jill sits down on the couch. She turns her head to  
>see if he's gone. She looks on at the view his house has overlooking the city. It's<br>clear he's upper-class, rich and probably important. She notices a picture on the  
>wall... he's in a tux with another women in her bridal dress.<p>

JILL: Tsk, tsk.

He returns into the room, a rolled up stack of dough in his hand and he hands it over.

JILL: Put it in my purse.

He leans over and drops it into her little purse as he's distracted looking down her  
>cleavage... she turns her head and they come face to face... their lips about to touch.<br>He closes his eyes...

JILL: That drink?  
>CLIENT: That's right...<p>

He bends back up and returns to the bar behind her.

CLIENT: Any preference?  
>JILL: (checking her nails) Something smooth.<p>

He pours her drink and comes back to the couch. He hands the glass to her...  
>she purposely drops it, the liquid spilling down her dress and splashing across<br>the floor, shattering the glass.

JILL: (playful) Oops.  
>CLIENT: Ah, that's okay.<br>JILL: Can I use your restroom to clean off my dress?  
>CLIENT: Sure. Down the hall at the end.<br>JILL: Thanks.

7.  
>She grabs her purse and continues her way to the bathroom. He bends down<br>and immediately starts cleaning off the marble floor. He works hard at it,  
>making sure none of it stays inside the cracks of the marble. He scrubs harder... nothing.<p>

CLIENT: Son of a bitch! She better be worth it...  
>JILL: Oh, I will be...<p>

He turns his head - A BLADE SWIPES ACROSS HIS FACE near his eyes. He  
>holds his head in complete shock at the blood pouring down his face, blinded by<br>the blood. He tries to get up and SLIPS on the alcohol on the floor, CRASHING DOWN  
>onto the table in front of the couch.<p>

Jill watches him struggle to try and get to his feet. She let's out an audible shocked  
>gasp from her mouth, realizing what she's doing... her whole body begins to shake<br>and her eyes well up... she looks back at him as he struggles to make sense of  
>everything... she regains control of her body... and walks behind him, slowly.<p>

JILL: You're so fucking pathetic.

SHE KICKS HIM in the side and turns him over.

CLIENT: Please! Please! I'll do anything you want! I'll give you more money!  
>JILL: More? MORE MONEY? I thought what you gave me was all you had?<br>CLIENT: I can get you more, lots more! I'm rich! Please!  
>JILL: You're rich? Or ... your wife is?<br>CLIENT: What does it fucking matter, please -

SHE BENDS DOWN AND STABS HIM IN THE GUT.

JILL: Hey! Mother fucker, I'm asking you a question!  
>CLIENT: Ah, what the fuck? !<br>JILL: You're rich or your WIFE is?  
>CLIENT: My wife! My wife! I'm fucking bleeding everywhere!<br>JILL: I noticed that.

SHE STABS HIM AGAIN. Blood shoots up from his mouth.

CLIENT: You psycho bitch. You fucking psycho bitch!  
>JILL: Now mister, it's not very SMART (STABS HIM AGAIN) to call a lady<br>who has a knife in her hands who's stabbed you four, (STABS HIM AGAIN)  
>FIVE TIMES already a PSYCHO BITCH. Now is it?<br>CLIENT: Help me! HELP ME! Somebody help me, please!  
>JILL: Oh God, shut the fuck up!<p>

She puts the knife to his throat and SLICES. He holds his neck, trying to push the  
>blood back in. She gets up just as the blood spurts from his neck to between her legs. She<br>takes out her phone and walks over to the bar while turning on a timer on an app then  
>turns on a song, "Back to Black" by Amy Winehouse. [youtube. comwatch?v=2tjNEK31O8E]  
>She washes the blood off the knife in the sink as he squiggles around on the<br>floor behind her. She watches him in the mirror as she continues to wash the knife.

JILL: Now in your last moments, you may be thinking, why didn't I attack  
>back after being sliced across the face? Now, listen to this answer: it's<br>because of a simple thing called "shock." Shock does crazy things to  
>people. And you started to spit up blood because I stabbed you in BOTH<br>lungs. I always wondered why that happened in the movies. You would  
>just figure, let's chalk it up to internal bleeding but do you have any idea<br>how hard that is? Oh sorry, forgot, you can't speak. And getting your  
>throat sliced... not instant death as all the movies portray it to be apparently.<br>(analyzing the process as it's happening before her) Lots of withering  
>around in pain, bleeding out... horrible stuff. That IS what you're experiencing<br>now, correct? Or am I reading this all wrong?

She makes herself another glass of alcohol then sits on top of the bar to watch him.  
>She sips as he continues to squirm around, blood gushing everywhere and down<br>into his mouth; gargling and choking on his own blood.

JILL: You see, even people who get their heads chopped clean off still  
>have brain activity. Heart rate slows but... I mean, as long as it's beating<br>and your brain's still goin', you're considered alive, right? That's the  
>creepy thing about watching those terrorist beheading videos... not just<br>the fact that it takes multiple strong stabs to the neck before the person  
>is actually decapitated, but because their eyes are still rolling over, their<br>jaw is still moving as if it were still screaming... who knows, maybe they  
>can still hear or smell.<p>

She takes another sip.

JILL: Damn, this shit's good. Now, mister, whatever your name was that I  
>didn't catch, I figure you deserve a little honesty before you die. No, I'm<br>not really a hooker. And I'm actually 17 but I get a sneaky suspicion that  
>you wouldn't have cared either way. Ya see... 6 months ago, I killed 5<br>people for... I don't know, let's reason it out to revenge. Rage, if you will. And  
>I needed you, someone random and potentially a bad person that couldn't<br>be traced back to me, to see if I had it in me to do it again. Those old feelings  
>of when I killed them kept resurfacing and I didn't know if it was because I<br>enjoyed killing them or if I was traumatized by it all. So luckily... dear  
>pervert... you answered that question for me. So you served a purpose<br>afterall... and from the bottom of my heart, I just want to show the deepest  
>of gratitude with a nice old fashioned, "thank you." I hope that suffices. Does it?<p>

His hands fall from his neck and he stops moving... dead.

JILL: And that's all she wrote.

She looks at her phone for the timer: 2 minutes and 44 seconds (also where the song is that she then let's keep running).

JILL: Nope, won't be using that method again.

She shrugs then grabs her purse and continues around the room, wiping down  
>things she touched and then takes the glass she sipped from.<p>

JILL: Can't forget that.

She goes to the fireplace and turns on the gas then places a lit candle in  
>the middle of the room on the table.<p>

JILL: Welp. Gotta run.

Jill exits through the front door and quickly makes her way down the drive way.  
>She takes off her heels to avoid the clicking sound from attracting any attention.<br>She stops and backs up, remembering to take her jacket from the back of the car.  
>SMOKE FILLS THE HOUSE BEHIND HER as FLAMES BEGIN TO RISE. She keeps<br>walking forward and down the hillside street... not looking back... at the house  
>in the hills that will now burn away any evidence, and Jill's sense of humanity,<br>as she disappears into the dark night in the midnight hour.

SMASH TO BLACK.

NEXT ON WOODSBORO HIGH:  
>Jill's spree continues and she elicits the help of a <em>CERTAIN FRIEND<em> to clean up a mess.

a) What was your favorite singular moment from this episode?  
>b) Which character had the best dialogue this episode? And which quotes in particular (copy and paste it, please)?<br>c) If Trevor isn't with Jenny nor Olivia... where is he?  
>d) And where's Tess?<br>e) What was going through your mind when Jill left her house up until she killed the client?  
>f) What significance do you think the song "Back to Black" has for Jill?<br>[Note: you don't have to necessarily answer these questions one by one as long as you can find a way to integrate their answers within the numbered sections.]

**120 reviews for PART 2 of this mid-season finale event, "BACK TO BLACK."  
>130 reviews for Blue Moon, the final episode of this mid-season finale event!<br>(Remember, you can go back and review older chapters to bring up the count)  
><strong>

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	19. Episode 10: Back to Black: Part 2

The following episode is rated **TV-MA LSV**as it contains scenes of GRAPHIC VIOLENCE, A BRIEF SEXUAL-VIOLENT ATTEMPT and VULGAR LANGUAGE. Also, the content of this episode may be considered disturbing, controversial and immoral. However, it advances one of this season's and the entire show's most crucial plot. If you wish for a summarized version to avoid reading such "depraved, sick and twisted" material, (seriously, an early reader said that lol) please PM me and I will provide you with one. Reader's discretion is advised.

_310 - Back to Black: Part 2_

1.  
>OPEN ON:<br>INT. JILL'S ROOM - MORNING  
>Birds chirp outside the window as the rising sun shines in through the blinds<br>and onto Jill's face. Her eyes move from the brightness but she doesn't fully  
>awaken. It's the sound of footsteps thudding down the stairs that get her...<p>

She slowly rises up and yawns at the prospect of a new day. She rubs her  
>eyes and continues to get out of bed. She goes directly to the window and<br>looks out on the street. Now she doesn't feel so trapped... now she doesn't  
>feel isolated... she feels just where she's meant to be... and then she remembers...<br>she looks down at her purse to see the giant wad of cash hanging out from  
>it. Her eyes bounce back up to her door - - who was walking down the stairs?<br>As she exits, CLOSE IN ON the calander - - it's New Year's Eve.

INT. ROBERTS' LIVING ROOM - CONT'D  
>Jill looks over the railing and down below - - her mother gathers her things<br>and walks among the house.

JILL: Where ya goin' so early on New Year's Eve?  
>KATE: Vegas. I'll be back on the second. I left money by the door.<br>JILL: Okay, have fun.  
>KATE: Thanks honey, happy new year!<br>JILL: You too, mom.

Kate quickly exits out the front door and runs down the front path. Jill  
>quickly hurries down the steps and looks out the front window - - her<br>mother is being picked up by a man in a black sports car. Kate smiles as the  
>car drives off. Could be romantic, could be not. Either way, Jill doesn't<br>necessarily approve but she won't let it be a thorn in her side.

CUT TO:  
>EXT. TESS'S HOUSE - MORNING<br>Roy sits in his car outside Tess' house but it appears nobody's home. In  
>fact, there's a FOR SALE sign on the front lawn. He gets out and takes a<br>closer look. Through the window, he can see inside - - it's shelled out and  
>nothing remains. She's gone...<p>

2.  
>CUT TO:<br>INT. JENNY'S ROOM - MORNING  
>A slumber party obviously took place as Jenny's in bed but Marnie and<br>Niley lay out on the ground in sleeping bags. Girly things are placed  
>about for what appeared to be a night of facials, movie watching and<br>looking through magazines. Marnie has an eye cover over her eyes to  
>block out any light. Niley's spread out, her jaw agape with drool oozing<br>out the corner of her mouth.

Jenny smiles in her sleep and she nudges a bit... and then her eyes open...  
>and her smile fades. She turns over and grabs her phone from the night<br>stand. No missed calls or text messages. This appears unusual from the  
>look on her face. She gives up and decides to text him: "good morning."<p>

She lays back and stares at the phone for a moment as she usually gets  
>a text back within 15 seconds. But nothing comes. She types it again<br>and sends just in case he didn't get it for whatever reason. She waits...  
>and nothing.<p>

CUT TO:  
>INT. JENNY'S KITCHEN - AN HOUR OR SO LATER<br>Jenny cooks breakfast while Marnie sits on the stool of the bar. Niley  
>makes her way down the hallway in bunny slippers, her hair Amazonian<br>and the dried up drool still on her face. In contrast, Marnie already looks  
>perfect.<p>

JENNY: Morning, sunshine.  
>MARNIE: Sleep well?<br>NILEY: Robert Downey Jr. was my dad. It was kinda disturbing if  
>anything because I still had physical feelings for him.<br>JENNY: That's horrible...

Jenny takes the pan and places eggs on a plate in front of Marnie.

JENNY: Breakfast?

Niley makes her way next to Marnie and takes a seat.

NILEY: Yes, ma'am.  
>MARNIE: As I was saying, the implications of the ceremony are down<br>right abhorrent, perhaps even demeaning to the few "entitled women"  
>that are invited - - as if it was an illustrious occasion in the first place.<br>But you comprehend what I'm saying right? The versimulatude of the  
>very function is detestable that women aren't observing it's antiquity.<br>I mean, it's been around for years and they act as if it's insignificant.  
>Am I right, am I right?<p>

Niley's mouth is agape as she stares at Marnie and Jenny just continues on  
>making her pancakes - - not at all affected by what Marnie just said.<p>

MARNIE: You get me, right, Niley?  
>NILEY: I - I'm sorry, no... no. There was too many big words there, I<br>didn't catch any of it.  
>MARNIE: Jenny?<br>JENNY: Huh?  
>MARNIE: Were you listening?<br>JENNY: To what?  
>MARNIE: Nevermind.<p>

There's an awkward silence among them.

NILEY: So I saw this really funny Wile E. Coyote cartoon the other day.  
>JENNY: Oh my God, which one was it?<p>

Marnie rolls her eyes and makes her way to the backyard. We follow her out  
>to the sliding glass door and she exits.<p>

EXT. JENNY'S BACKYARD - CONT'D  
>Marnie looks at her phone and quickly scans through her contacts. She<br>stops at the name... Sally. She quickly dials and puts the phone to her ear.

INT. SALLY'S GARAGE - SIMULTANEOUS  
>We intercut between the two. Sally, the old vice president of the prom<br>committe at Breckin High and one of the only survivors of the Penciatti Hotel,  
>looks exactly as she did 2 years ago. She hangs up a star decoration in her<br>garage and she looks back at her phone ringing on top of the dryer. She  
>jumps down from the ladder and notices who's calling. She freezes up for<br>a moment and takes a second, checking in with herself to make sure she  
>wants to answer. She closes her eyes and grabs the phone.<p>

SALLY: Hey Marnie.  
>MARNIE: Hey Sally, how's it going? I can never seem to get a hold of<br>you these days.  
>SALLY: Yeah, I've been really busy... sorry.<br>MARNIE: That's okay, um... hey, what are you doing tonight?

Sally scans her garage which is filled with festive decorations.

SALLY: Nothing, might be out of town.  
>MARNIE: Oh, with the old gang?<br>SALLY: Yeah, probably.  
>MARNIE: (sighs) Sounds fun... look, I just... you know, I need some<br>of my old Breckin friends. I am dying to just have one intelligent convo  
>with somebody, I mean, these 'boro kids just aren't that bright. They<br>have heart but, you know.  
>SALLY: (chuckles) Well yeah, I hear you on that.<br>MARNIE: You think that maybe I could come with you guys tonight?

Sally's face turns cold and pale.

SALLY: Actually, ya know, the car's already full and we're going far  
>anyway, you wouldn't wanna go. I'm sorry, Marnie.<br>MARNIE: Oh... okay.  
>SALLY: I gotta run for now though, 'k?<br>MARNIE: (beat) Okay. Talk to you later. Hopefully next time I call,  
>you'll be available and maybe we can hang out some time.<p>

The call's ended before Marnie can finish. She looks at the phone and sighs.  
>There's just a moment before she then turns around and looks back inside<br>the house. Jenny and Niley laugh their asses off with each other - - Marnie  
>can't help but feel envious.<p>

MARNIE: They're not that bad, Marnie. They're fun. Right? (beat)  
>You have some common interests. They think the world of you. And<br>I bet even if you moved just one city away, they'd actually visit you.  
>Wouldn't they? (nods to herself) They would.<p>

She slides back open and enters.

INT. JENNY'S KITCHEN - CONT'D  
>Jenny finishes putting the food onto Niley's plate and her phone vibrates. She<br>smiles and quickly reads it as Marnie sits back down.

JENNY: Finally he texts me back.  
>MARNIE: Trevor?<br>JENNY: Yeah, he's been silent for almost a whole day.  
>MARNIE: Busy with his supposed job.<br>JENNY: Yeah, he says he's been working all night.  
>MARNIE: And you still don't know where?<br>JENNY: No.

Marnie has a sly smile, feeling a bit adventurous... surely this would impress her  
>friends with what she suggests...<p>

MARNIE: Maybe we should find out.  
>NILEY: How do you figure?<br>MARNIE: I heard of this new website where you can type in someone's number  
>and find out their exact location. Supposedly some hacker went into the CIA's<br>database, took the encoding and released the site himself. Wasn't supposed to  
>go live until October.<br>JENNY: We're not gonna stalk Trevor.  
>NILEY: (eyes go wide) Oh my God, stalk Trevor search party!<br>MARNIE: Wouldn't that be fun, Niley? !  
>NILEY: YES! I knew your genius would come in handy for some good!<br>MARNIE: It... comes in to some good everyday but yeah!  
>JENNY: C'mon, I trust him.<br>MARNIE: Ofcourse you do but a mystery needs solving and the three  
>blondes are here to solve it.<br>NILEY: I'm not blonde.  
>MARNIE: (pats Niley's head) You are on the inside, honey.<br>JENNY: Three blondes go out to solve a mystery... that sounds like the  
>beginning of a bad joke.<br>MARNIE: Jenny... adventure is out there. You don't even have to tell him  
>once you find out. You could just know...<br>JENNY: (smiles) Okay, let's do it!  
>NILEY: Yayyyy!<p>

Jenny goes into her living room and returns with her iPad, handing it to  
>Marnie. She quickly puts in the website.<p>

MARNIE: (hands it to Jenny) Put in his number.

Jenny enters the number and hands it back to Marnie.

MARNIE: And it works. There's a map but it doesn't really specify what  
>it is exactly. Ya know, business, residential, etc..<br>JENNY: So how far is it?  
>MARNIE: Just 5 miles away.<br>JENNY: 'k... let's go!

Jenny and Marnie jump up in excitement and rush to the door. Niley is left  
>behind...<p>

NILEY: But I haven't finished my waffles! AH, and I still need to shower!  
>Guys? Guys?<p>

3.  
>CUT TO:<br>INT. WOODSBORO BANK - DAY  
>Jill waits in line at the crowded bank; she's up next. A YOUNG FEMALE TELLER calls her<br>forward to window number 6. Jill smiles politely and places her transaction slip down.

TELLER: So you're making a deposit?  
>JILL: Yump.<br>TELLER: For $1,800?  
>JILL: Yump.<br>TELLER: Okay, do you have your ATM card with you?  
>JILL: Sure does.<p>

Jill takes it out of her purse and places it down. The Teller quickly swipes it and  
>looks at the computer monitor.<p>

TELLER: You're only 17?  
>JILL: I'll be 18 next summer. Or should I say this summer. Practically<br>2011 already, right?  
>TELLER: (smiles) Yeah but, I'm sorry Ms. Roberts, I cannot place this<br>large of a sum in your account unless you're over the age of 18 or the  
>primary on your account is present with you.<br>JILL: Well how do I become the primary?  
>TELLER: The original primary, which is (looks on the screen), Kate Roberts - - your mother?<br>JILL: Yeah.  
>TELLER: She would have to handle over the account for your sole usage.<br>JILL: But when I'm 18, I can put the money in?  
>TELLER: That's correct.<br>JILL: Well can I make a new account?  
>TELLER: Not until you're 18.<p>

Jill sighs - - this is not what she expected. She smiles friendly and tries to level with the teller.

JILL: I have nowhere to put this. Can't you just SAY she was here and put it in?  
>TELLER: Unfortunately, Ms. Roberts, I'm not allowed to do that.<br>JILL: (smiles) C'mon. You were my age once, right? How old are you? 21 at the most?  
>TELLER: 20.<br>JILL: See. You know that a girl like me doesn't just easily get this amount of money.  
>And I have nowhere to put it in my house or my mom will just take it and what I<br>earned will be - - gone. So one sister to another, just do me a solid and help me  
>out here. Please?<br>TELLER: I'm sorry.

Jill presses her lips together, trying her best not to act out.

JILL: I'm asking you nicely and the procedure isn't sound anyway. Can't  
>you just do me this one favor and that'll be it, I promise. If I don't put<br>this money in here today then I'll never see it again. My mom will take,  
>spend it on whatever she wants... I'll be practically be forced to spend it<br>now on meaningless crap. But instead, I'd rather save it for something  
>important. Like school so I can continue to make a living. So I can be somebody?<br>TELLER: Want my advice? Being somebody has nothing to do with  
>where you go to school or how much money you make. It's about what<br>you have to offer to the world in terms of your story. So your mom taking  
>your hard earned money and spending it for herself... it'll contribute to<br>whatever boring suburban household you come from and the double  
>life you lead as an underaged stripper. Now THAT'S a story. Work on that.<p>

The soundtrack thuds. Jill stares on, unable to figure out this girl's deal. She's gone  
>too far already but Jill is desperate and is willing to settle this in some fashion.<p>

JILL:... you can't be serious.  
>TELLER: I have a job to do and you're asking me NOT to do it. I can be<br>as frank with you as I please with what you're suggesting.  
>JILL: Okay. Half. Half the money into my account.<br>TELLER: Not even, sweetie.  
>JILL: How much can I put in?<br>TELLER: None. Technically, if I feel like I shouldn't service you because  
>you're part of some illegal, underaged, money making scheme, I don't have<br>to put a single penny in.

Jill just stares at her, cussing her out in her mind. She has a billion things to say  
>but she knows better than to make a big scene at a crowded bank with money<br>that isn't actually her. She puts on a fake smile...

JILL: (beat) Fine.

4.  
>CUT TO:<br>INT. PARTY HOUSE - AFTERNOON  
>A party is already happening at about 4 PM. A lot of Woodsboro High students<br>are in attendance including ones from other neighboring schools. Among them  
>is Roy, Robbie, Charlie, Kirby and Olivia. Roy has a drink in his hand, a very<br>solemn attitude that's kinda bringing everyone else down.

KIRBY: This place is poppin' for 4 PM.  
>OLIVIA: Those Vega brothers... they know how to do it. Party, I mean.<br>ROBBIE: I feel oddly out of place though.  
>OLIVIA: That's because you're gay.<p>

Robbie's eyes go wide while the rest laugh it off as a joke. Olivia slyly sips her drink.

ROBBIE: That... is hilarious, Olivia.  
>ROY: (under his breath) I'm gonna go kill myself.<br>CHARLIE: What?  
>ROY: I'm gonna go get another drink, you want one?<br>CHARLIE: I'll come with you.

Charlie and Roy separate from the bunch. Kirby's still laughing at the "gay joke"  
>and then Lynn is seen coming in the distance.<p>

KIRBY: Oh fuck, hide me.  
>OLIVIA: What? (notices Lynn) Oooooh, no, no.<br>ROBBIE: Who you hiding from?

Lynn joins the little circle.

LYNN: Hi Kirby behind Olivia's back.  
>KIRBY: (plays it off) And I tied it so it'll stay on you the whole night, OH<br>HEEEY, Lynn.

Robbie's eyes shift back and forth between them.

OLIVIA: This is precious, isn't it?  
>LYNN: Fancy seeing you here.<br>KIRBY: Fancy... seeing you!  
>LYNN: Reminds me of the last time I saw you at a party.<br>KIRBY: Oh God, yeah... way too much to drink. (points to Olivia and Robbie)  
>You guys gotta keep me away from that zone again.<br>ROBBIE: What zone is that exactly?  
>KIRBY: Nothiiing.<p>

Olivia takes a random passerbyers drink and hands it to Kirby.

KIRBY: Real funny.  
>OLIVIA: C'mon Robbie, let's leave these two alone.<br>KIRBY: You bitch.

Olivia and Robbie seperate and they notice Solai and Topher together on a couch  
>cuddling up to each other.<p>

OLIVIA: Oh, that explains a lot than.  
>ROBBIE: I don't know what's going on.<br>OLIVIA: You never do.

Cory walks up to them.

CORY: Hey guys.  
>OLIVIA: Suicidal Cory!<br>CORY: Just Cory, please.  
>ROBBIE: How's college treatin' ya?<br>CORY: It's different. Lots of work and girls. (nudges Robbie) Right?  
>OLIVIA: Oh, he's SO interested.<br>CORY: Speaking of girls, is Jill here?  
>OLIVIA: Oh, ya know, she's been really down lately. Haven't seen her<br>since Christmas break began.  
>CORY: Oh, that's no good.<br>OLIVIA: Yeah, tell me about it.  
>ROBBIE: So Cory, do you think a TMZ-like website would work with<br>the subjects being the students at Woodsboro?  
>CORY: (eyes shift) No, Woodsboro High would never work as a show.<br>OLIVIA: I told you, stop boring you, an with your nonsense.  
>ROBBIE: I'm telling you, I'm gonna start it the very moment we get back<br>from winter break and it's gonna be a hit! And it's not a show! It's a  
>paparazzi-like vlog!<p>

AT THE DRINK STATION, Charlie and Roy finally make it to the end of the line  
>and start filling up their drinks. Freddy makes his way towards the front with<br>them. Roy immediately notices.

ROY: Freddy, man, what the fuck?  
>FREDDY: I was with you guys the whole time.<br>ROY: No you weren't, wait in line, man!  
>CHARLIE: Roy, just let him in.<br>ROY: No, fuck that. Freddy, get your ass to the back of the line.

Esline and Chantelle watch from behind as this altercation ensues.

FREDDY: (goes to his regular voice) Sorry Roy, jeez. Thought we were  
>friends but I guess I was wrong.<p>

Freddy sadly makes his way to the end of the line as Charlie looks on at Roy.

CHARLIE: What is wrong with you?  
>ROY: I'm pissed off, okay, Charlie? Do you understand that?<br>CHARLIE: Yeah, I got it but - -  
>ROY: But nothing. Tess left me and I have NOTHING.<br>CHARLIE: Far from accurate.

Esline's eye brows raise at this little piece of information. Chantelle nudges her  
>in the side with a smile. Charlie and Roy finish and walk off as the two ladies<br>make their way to the table now.

CHANTELLE: Angry Roy is hot.  
>ESLINE: Shut up.<br>CHANTELLE: I'm serious, now I see why you were so in to him. You  
>should kiss him at midnight. Like two years ago?<br>ESLINE: Yeah right, you heard him, he misses his girlfriend.  
>CHANTELLE: EX girlfriend. EX. He can do whatever he wants.<br>ESLINE: We will see how many drinks I've had by the end of the night  
>before I even consider doing that!<p>

5.  
>CUT TO:<br>INT. GRAVEYARD - AFTERNOON  
>Jenny's car pulls up to the entrance of the graveyard. Marnie's in the passenger<br>seat while Niley's in the back - - all three mysteriously look within.

JENNY: Are you sure this is it?  
>MARNIE: We've reached our destination, Jenny.<br>JENNY: Why would he be embarrassed to work here?  
>MARNIE: Well.. nobody wants to be associated with GHOSTS!<p>

The very word scares Niley and she jumps back into her seat, making Marnie  
>laugh as if her gut is gonna burst.<p>

JENNY: Sh, shut up, there he is!

They all duck down and watch him as he walks about in the graveyard in a  
>work suit and gloves. He stops at a grave and looks down... his lips move as if<br>he's speaking to it.

MARNIE: What is he doing?  
>NILEY: Oh my God, he can see dead people!<br>MARNIE: That's moronic... isn't it?

Trevor laughs as he continues the conversation.

MARNIE: Or maybe not.  
>JENNY: Should we go now?<br>MARNIE: I'm interested in what he does next.

Trevor then waves to the tombstone and makes his way to the front gate - -  
>he instantly spots the car.<p>

JENNY: Shit, he sees us, he sees us!

He picks up the pace and quickly walks over.

MARNIE: Hide the thing!

Marnie throws the iPad into the backseat and Niley quickly takes it.

TREVOR: Jenny?

She sits up and smiles big.

JENNY: Hi honeeey.  
>TREVOR: What are you doing here?<br>JENNY: Oh, nothing, just... ya know. Going for a drive.  
>TREVOR: You follow me here and stay out all night?<br>JENNY: Ofcourse not.

He takes one look at Niley, still a mess.

TREVOR: Yeah, then what's her excuse?

Niley smiles big - - there's still food in her teeth.

MARNIE: She... is - a... afraid of water lately.  
>JENNY: Oh God yeah, it's ridiculous.<br>MARNIE: She is just... out of this world insane right now.

Still with a smile, Niley nods along.

TREVOR: Well I'm out of work now... wanna give me a ride?  
>JENNY: Sure! Sure!<br>TREVOR: Thanks.

Trevor jumps in the back seat and sits next to Niley. She continues to smile.

TREVOR: Water's a good thing.

6.  
>CUT TO:<br>INT. PARKING GARAGE - NIGHT  
>The Bank Teller whistles as she crosses her way through the empty parking garage and<br>comes to her car. The windows are fogged up... but she doesn't notice. She enters,  
>buckles her seatbelt and continues to whistle. She stops... and notices the windows.<br>Her entire body freezes in panic... her head slowly turns towards the back seat...  
>GHOSTFACE WRAPS A ROPE AROUND HER NECK AND PULLS BACK.<p>

The Teller tries to scream but her airflow is cut off. Her arms wave about, smacking  
>Jill across the face but Jill is persistant, pulling the rope tighter and tighter. The<br>Teller keeps pushing her self around as Jill struggles to keep the rope pulled tighter.  
>She's exhausted already.<p>

TELLER: I... can't... breathe. Please!  
>JILL: Ugh, my God!<p>

Jill lays down in the seat and PUSHES the Teller's face against the window with  
>her foot, strangling her even further. The window CRACKS and Jill lays off a bit<br>and pulls her back.

JILL: Just die already, bitch!

The Teller tries to reach for her heels on her feet... her entire face turning purple...  
>she somehow slides them up onto the seat and grabs hold of it, SMACKING THE<br>WINDOW with the heel to crack it even further.

JILL: What are you doing? What the fuck are you doing? !

The method isn't working. The Teller then swings the heel back at Jill. Jill ducks and  
>dodges as it passes by her face each time. It clips the mask and flings it right off<br>her face. The Teller can see Jill clearly in her rear view mirror and she's even more  
>mortified now.<p>

JILL: Oh no, you did not!

Jill twists the rope and pushes her back against the driver seat, PULLING HARDER.  
>The Teller looks up and notices the sunroof... she slams her hand against the control<br>panel... IT OPENS and she WAVES HER HAND out the top of the car toward the  
>camera as it pans back and forth... Jill grabs her hand and twists it back, JUST AS<br>IT was about to see her hand waving.

The Teller than reaches for her purse and spills it's contents and quickly grabs her  
>keys... her body becomes weak and limp in every passing second. She slides the<br>keys into the ignition, her eyes now turning bloodshot...

JILL: Shit!

The Teller turns the key and the engine starts. Jill moves forward, which also allievates  
>the rope from being pulled on the Teller's neck, to try and grab for the keys. The<br>Teller, now with more strength, ELBOWS Jill in the nose and makes her drop into  
>the passenger seat upside down.<p>

The Teller goes for the door to exit but Jill quickly grabs the Teller's hair and pulls  
>her back and then pulls on the rope to choke her some more.<p>

The Teller's body falls back onto the gears and it SHIFTS INTO REVERSE. She  
>STOMPS on the pedal and the car THRUSTS BACKWARD all the way into a<br>pillar. Jill, with the motion of the car, is thrusted forward and her face hits the dash.

With the rope still around the Teller's neck, it presses her body onto the gear  
>again, shifting into PARK while her feet still remain on the accelerator.<p>

The wheels spin out of control, building up burnt rubber. A SECURITY GUARD  
>exits from the office and slowly approaches the car. Jill looks back and notices<br>him coming.

JILL: FUCK!

She pushes the Teller off and grabs hold of the gear, THROWING IT INTO DRIVE.  
>The car BLASTS FORWARD and INTO THE RAILING. The car nearly BREAKS<br>ALL THE WAY THROUGH TO THE OTHER SIDE but not enough.

Jill panics and puts the gear back into reverse. The Security Guard runs towards  
>the car just behind - - THE CAR COMING STRAIGHT FOR HIM. He dives out<br>of the way just as it SLAMS INTO THE PILLAR again. The Teller finally lets go  
>of the pedal and with any tiny bit of breath left - -<p>

TELLER: PLEASE HELP ME!

The Guard jumps back up and looks Jill RIGHT IN THE EYES. She pushes The  
>Teller's leg back down onto the pedal and puts the car into DRIVE as it SLAMS<br>INTO THE RAILING AGAIN - - THIS TIME BURSTING THROUGH AND  
>DROPPING DOWN.<p>

Jill looks down at the three story drop as her body becomes weightless and  
>floats in the air. The debris from the wall makes it's way down into the sun<br>roof and smacks against their faces.

THE CAR FALLS - AND FALLS - AND CRASH LANDS INTO an oversized dumpster  
>full of trash bags. It doesn't soften the fall at all - the hood BENDS BACK and<br>the airbags POP OPEN, snapping back both Jill and the Teller's heads into the  
>seat's head rests.<p>

Glass shatters EVERYWHERE as the car then begins to TIP OVER with the  
>dumpster. It SLAMS against the pavement upside down. The Teller remains in her<br>seat belt, upside down. Jill falls and hits the roof/ground against the broken  
>cement and glass - - sprawled out nearly dead.<p>

The Guard looks down and runs to the staircase. He yells something into his walkie.

Jill quickly comes to and looks at the scrapes all over her body. She wasn't expecting  
>this outcome AT ALL and it infuriates her that her beauty may be tarnished.<p>

She tries to get up - THE TELLER SWINGS A SHARD OF GLASS PASSED JILL'S  
>HEAD. Jill barely dodges it in time and slides back towards the window as The Teller<br>tries her best to swing at her from an upside down position.

TELLER: Die, you fucking bitch!

Jill thinks quick and KICKS the Teller's hand holding the shard - - her hand bounces  
>back and SMACKS HER IN THE FOREHEAD, STABBING THROUGH THE SKULL.<br>She's dead - FINALLY.

Jill stays for a second, just to make sure - - the Teller's blood drops down below  
>onto the hood of the car. Yeah, she's sure.<p>

THE EMERGENCY STEPS' DOOR bursts open as the security guard runs for the  
>car. Jill grabs the Ghostface mask on the ground and quickly and silently slides<br>out the window and quickly hides on the other side that the guard isn't running  
>upon. He bends down to check on the Teller and he calls for an ambulance into<br>his walkie.

Jill sneaks behind the knocked over dumpster the car fell into and tip toes  
>behind the security guard as he continues to work on the Teller. She runs off into<br>the nearest alley as soon as her footsteps hitting the ground are out of earshot  
>from him.<p>

7.  
>EXT. ALLEY - CONT'D<br>She turns into the alley, completely thrashed from head to toe. She drops to her  
>knees in the gutter water and tries to finally catch her breath.<p>

She washes her wounds off and looks up - - a HOMELESS MAN watches her,  
>completely shocked by Jill's state and well being. Jill quickly stands up and walks<br>over to him.

The Bum doesn't say anything and just watches her with his mouth agape. He finally speaks...

BUM: Do you need help?

SHE SCREAMS and KICKS HIM IN THE FACE, venting out all of her frustration.  
>His bottle of alcohol crashes against the floor and breaks. He tries to get up but<br>she KICKS him back down.

She grabs the broken bottle, jumps onto his lap and STABS him in the chest and  
>the face REPEATEDLY. He reaches up to stop her and she continues STABBING<br>through the skin of his arms, ripping through the flesh and penetrading down into  
>his skull until he finally stops trying to protect himself.<p>

BUM: I didn't do anything, please!  
>JILL: You'll take my money now, won't you, bitch? ! Won't you? !<p>

She continues in a frenzy until every ounce of anger from her is gone. His body  
>slumps over... she stops and throws the bottle across the alley then takes a step<br>back to look at what she's done with blood all over her... she feels better now,  
>almost in a dazed state... she looks at the now dead homeless man for another<br>moment... and walks away.

CUT TO:  
>INT. PARTY HOUSE - NIGHT<br>The house is now going insane to the music. The owner jumps onto the steps  
>and yells out - -<p>

OWNER: 30 minutes until midnight!

The crowd goes even more wild! Olivia clinks glasses with Kirby.

OLIVIA: I'll drink to that.

They both down their shots simultaneous.

OLIVIA: Woo!  
>KIRBY: Fuck yeah.<p>

Olivia's phone vibrates and she looks down at it.

OLIVIA: I gotta go.  
>KIRBY: What?<br>OLIVIA: I need to - I need to go.  
>KIRBY: What the fuck, dudette?<p>

Olivia squeezes her way through the crowd and quickly exits the party. Kirby  
>shrugs and jumps up and down, dancing to the music. Charlie, now drunk off<br>his ass smiles at her and decides to dance too.

KIRBY: Charliiiie!

She giggles and grabs onto his shoulders as they jump together.

CUT TO:  
>INT. JENNY'S LIVING ROOM - NIGHT<br>Trevor is making his way to the door as Jenny leads him.

TREVOR: I'm sorry babe, but work calls. The old guy called in sick.  
>JENNY: That bastard. At least let me drive you.<br>TREVOR: No, no, I wanna walk. It'll get my blood going to keep me up  
>through the night.<br>JENNY: What do they need graveyard workers for the middle of the  
>night on New Years Eve anyway?<br>TREVOR: (smiles) It's not called the graveyard shift for nothing, my  
>love. And these kids, psh, you know these crazy kids and their hanging<br>out in graveyards these days.  
>JENNY: Okay. Be safe.<p>

He kisses her quickly and jogs off.

JENNY: Happy new year.  
>TREVOR: Happy new year!<p>

She frowns and closes the door then sighs and returns back to the  
>kitchen where Niley and Marnie are dancing with the Just Dance game.<p>

MARNIE: I can't do it!  
>NILEY: You gotta stick with it!<br>JENNY: When do I get to play, huh? !

CUT TO:  
>EXT. STREET - NIGHT<br>Jill makes her way up her street, holding her shoulders to keep herself warm. She's  
>making no attempts to try and hide the battered mess she is. A car slowly pulls up<br>behind her... it's Cory.

CORY: Jill?

He stops and puts the car into park, quickly rushing out of the car and to Jill's side.  
>She doesn't even speak... she's practically not even there.<p>

CORY: Hey, what happened? (waits) Jill? Do you need a hospital, are you - -  
>JILL: I'm fine. Rough night. Fuckin' New Years, right?<br>CORY: Oh my God, were you in a fight or - -  
>JILL: My drunk ass fell out a window. Go figure. That's when you know it's time to head home.<br>CORY: Hey, c'mon... uh... nobody should be alone on New Years.  
>JILL: I was kinda looking forward to it.<br>CORY: (smiles) Well who's gonna be your midnight kiss?  
>JILL: (beat) Would you kiss me... even if I looked like this?<p>

He's shocked... this is her obviously letting him make his move and going along with it.

CORY: I would kiss you... from head to toe regardless of what you looked like.  
>JILL: (looks down the street at her empty house) I guess we can hang out.<p>

She smiles in a fake-drunk happiness and he smiles, genuinely, at the fact he can take her home.

CORY: Okay, uh... c'mon.

He opens the car door for her and he runs back into the driver's seat.

8.  
>CUT TO:<br>INT. CORY'S ROOM - NIGHT  
>CLOSE UP ON THE CLOCK - 11:55 PM. Cory brings over two glasses of wine and<br>hands one to Jill. She gladly takes it and downs it in one gulp.

CORY: You're supposed to wait until midnight.  
>JILL: I thought we were gonna be kissing?<br>CORY: Yeah, well... who knows... maybe something more.

Jill puts down the glass... "he can't be fucking serious."

CORY: I'm sorry, that was a stupid thing to say. I'm drunk and I just...  
>I fucking love you. You know that.<br>JILL: Why, Cory? After all this time?  
>CORY: Why what?<br>JILL: Why do you love me? After all this time? I figured since you  
>graduated, you would've long found someone else by now.<br>CORY: There's just... something that drives me toward you. Call it an  
>energy or... whatever.<br>JILL: Hm. Comforting.  
>CORY: Wasn't good enough?<br>JILL: Not nearly enough for more than a midnight kiss.  
>CORY: (beat) C'mon, baby.<p>

He throws his hand on her leg and slides it up her thigh. She PUSHES IT OFF,  
>trying to ignore his idiotic advances.<p>

CORY: Oh, I see. I bring you here so you're not alone, give you  
>something to drink, and this is the fuckin' way you repay me?<br>JILL: (beat) You're drunk.  
>CORY: And you're not being fair.<p>

He slides his hand up her stomach towards her breast. She contains herself and  
>pushes his hand off gently.<p>

JILL: I'm gonna leave now.

She sets down the glass and walks towards the door. He jumps up and presses  
>his body behind her so she's pinned.<p>

JILL: Get the fuck off me!  
>CORY: C'mon! After all this waiting and waiting, for three years of teasing and<br>games, you gotta let me at least ONCE feel that warm pus -

SHE ELBOWS HIM IN THE JAW and pushes him off.

JILL: I'm warning you.  
>CORY: You like it rough, I see.<p>

He throws her against the wall and pins her arms back. She struggles with her leg  
>but he's already in between them.<p>

CORY: You have any idea how patient I've been? !  
>JILL: Stop!<br>CORY: How long I've waited? !  
>JILL: Cory, I don't want to hurt you, you're drunk!<br>CORY: How I've stood by and watch you be with guy after guy treat you  
>like shit while you NEVER reconsidered me? !<br>JILL: You're hurting me!  
>CORY: Oh, I'm sure when I actually get inside you, it won't hurt a bit. How<br>many guys have you fucked, huh? How come I never got any of it, huh?  
>It'll be like a toothpick into a volcano with how stretched out your shit's<br>been! You fucking slut! Fucking everyone but me!

Jill closes her eyes tight as her face goes RED with fury. PATRICK FLASHES  
>THROUGH HER MIND, having her bent over the railing of his house in Colorado<br>as he's about to rape her. She opens her eyes and she HEADBUTTS CORY right in  
>the nose.<p>

He falls back, holding his nose in shock. Jill grabs a baseball bat on a trophy shelf  
>and SWINGS at Cory's kneecaps. He falls to the ground as she continues SWINGING<br>into his body.

CORY: Stop, please!  
>JILL: Oh God, you have any idea how many times I've heard that<br>(SWINGS AGAIN) FUCKING WORD LATELY? !

He tries to get back to his feet.

JILL: (mocking her previous victims) "Please, please, please." NO! What  
>about when I said "please," huh? !<p>

SHE SWINGS UP INTO HIS JAW and he slams back down on the floor.

The countdown on the TV begins. Jill drops the bat, grabs her purse and  
>walks towards the bathroom.<p>

JILL: I'll tell you what, Cory. You REALLY want me to fuck you? Do ya? ! Huh? !

He spits a tooth out, a weary mess on the floor that can't tell what's  
>transpiring anymore. Behind him, she returns with the Ghostface mask ON and<br>A GIANT KITCHEN KNIFE. She kicks him over so he's on his back and she bends  
>down over him.<p>

INT. PARTY HOUSE - SIMULTANEOUS  
>Esline takes a breath and makes her way over to Roy in the crowded room.<br>At this same exact moment, so does Lynn toward Kirby.

COUNTDOWN: 5!

INT. JENNY'S LIVING ROOM - SIMULTANEOUS  
>Jenny, Marnie and Niley sit on the couch with toast glasses as they watch<br>Rockin' New Years Eve with Dick Clark.

COUNTDOWN: 4!

INT. PARTY HOUSE - SIMULTANEOUS  
>Tess enters into the party and makes her way through the crowd - - and there's<br>Roy. She smiles a bit, a bit apprehensive... but ready to try this again. Esline is  
>on the other side, making her way straight for him, unbeknownst to her...<p>

COUNTDOWN: 3!

INT. OLIVIA'S ROOM - SIMULTANEOUS  
>Olivia and Trevor press up together and kiss heavily as she rips off her<br>own shirt and throws him to the bed and climbs on top of his waist.

COUNTDOWN: 2!

INT. PARTY HOUSE - SIMULTANEOUS  
>Robbie and Charlie look at each other and shrug.<p>

CHARLIE: So we're just gonna hug?  
>ROBBIE: Yeah, I guess.<p>

Esline turns Roy around and pulls him in - - he's drunk enough not to care anymore.  
>Lynn does the exact same to Kirby. As lonely as Charlie and Robbie feel, they<br>prep for their hug - - but then Chantelle turns Robbie around and plants an early,  
>long kiss on his lips... leaving Charlie standing there alone.<p>

COUNTDOWN: 1!

Lynn takes one last breath... Esline takes one last breath... and go in for the kill.  
>Tess finally makes it to Roy... and then notices... her mouth quivers at what she<br>knows she's about to see... and then it happens and they kiss. Her eyes water  
>up and she runs back out the door.<p>

INT. CORY'S ROOM - SIMULTANEOUS  
>Jill sits on top of Cory and has the knife RAISES HIGH.<p>

JILL: Well then consider yourself FUCKED by JILL ROBERTS!

COUNTDOWN: HAPPY NEW YEAR!

SHE PLUNGES THE KNIFE STRAIGHT INTO HIS HEART - - and the crowd on  
>the TV goes WILD. Jill pushes down even harder and screams out - - their eyes connect<br>for this last millisecond of life he has in him - - and he practically dies INSTANTLY.  
>She remains on top of him, breathing heavy - - the shakes come over her entire body.<br>She slides off the mask to get a good look at him...

A bit of snot runs down from her nose and she wipes it away. Her body slowly comes  
>back to a stasis and her eyes turn cold. She pulls the knife out of his chest and lets<br>out a pleasurable moan as her jaw extends out and her eyes roll into the back of  
>her head... she cracks her neck and looks back down at Cory's dead body with his<br>eyes aimlessly peering onward toward her.

JILL: Happy new year, baby.

SMASH TO BLACK.

No questions this episode. However, if you have any additional comments or would like to tell me about your favorite piece of dialogue, feel free to leave them here! :)

And without delay, the final piece of the mid-season finale event... is the next chapter! BUT, _**200 reviews**_ will be needed to start up the season again **after** the next chapter to finish it off for the FINAL HALF and CONCLUSION of WOODSBORO HIGH. So make no mistake, your reviews are still **CRUCIALLY** needed for THIS chapter also, so please leave your thoughts before continuing on. There will be multiple "between episode" chapters after the next one, so obtaining **200 reviews**should be fairly easy.

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><strong>200 reviews<strong>  
>Are needed to start the season back up to get to the finish!<p> 


	20. Episode 11: Blue Moon

The following episode is rated **TV-MA LSV** as it contains scenes of **GRAPHIC VIOLENCE**, **DESCRIPTIVE SEX ACTS** and **VULGAR LANGUAGE**. Also, the content of this episode may be considered disturbing, controversial and immoral. However, it advances one of this season's and the entire show's most crucial plot. If you wish for a summarized version to avoid reading such "depraved, sick and twisted" material, (seriously, an early reader said that lol) please PM me and I will provide you with one. Reader's discretion is advised.

_310 - Blue Moon_

1.  
>OPEN ON:<br>INT. PSYCHIATRY OFFICE - DAY  
>TITLE CARD: April 2011<br>Dr. Pryce sits in front of Jill with a re-assured smile on his face now that Jill  
>is back on his chair like she used to be.<p>

DR. PRYCE: I'm so glad you decided to come back, Jill.  
>JILL: Well... you know what they say about planning... causes stress.<br>DR. PRYCE: What are you planning?  
>JILL: Sidney's coming into town today. Well, given the time, she should<br>be getting here now. Then I'm going to run off to school and maybe I'll  
>see her later.<br>DR. PRYCE: So a party?  
>JILL: You could say that.<br>DR. PRYCE: Well planning something big like that is better done with help.  
>JILL: (smiles) That's my problem, I guess... I'm doing this all by myself.<p>

The soundtrack thuds.

DR. PRYCE: Try not to take on too much of a load next time.  
>JILL: No, I think this will be the last - - party I plan. I have a good feeling<br>Sidney will stay put in Woodsboro.  
>DR. PRYCE: Have you... been taking any medication?<br>JILL: Nope.  
>DR. PRYCE: And how do you feel?<br>JILL: Better than I've ever felt, Dr. Pryce.  
>DR. PRYCE: You haven't been sleeping though. The bags under your eyes?<br>JILL: Like I said... stress.  
>DR. PRYCE: Were you up all night?<br>JILL: You could say that.  
>DR. PRYCE: I have some sleeping - -<br>JILL: Dr. Pryce, I don't want anything you could ever give me that would  
>numb me any further, you understand?<br>DR. PRYCE: I'm your psychiatrist, I'm just trying to help.  
>JILL: Well... truthfully, the only reason I came here today was to tell you<br>that I will no longer be needing your services and I just wanted to give  
>you an official goodbye face-to-face. Having my mother tell you over the<br>phone just didn't seem acceptable. Especially after what... great friends  
>we've become through all this.<p>

Dr. Pryce smiles, knowing she's trying to be a catty bitch in the nicest way possible  
>to get to him... but he doesn't fall for it.<p>

DR. PRYCE: Then good luck, Jill.  
>JILL: Thanks, I'll need it.<p>

Jill grabs her purse and heads for the door.

JILL: Actually... I've been having re-occuring thoughts of a - - traumatic  
>experience from the past. Maybe you could help me with that.<br>DR. PRYCE: Of course.

Dr. Pryce quickly takes out his pad and writes up a prescription. Jill looks  
>on at him, nearly sickened by how quick he is to give away his drugs to anyone<br>who barely asks...

DR. PRYCE: (hands her the slip) Tell Sidney I'm a big fan.  
>JILL: (takes it) Oh... I'll tell her alright.<p>

Jill smiles innocently, turns around, exits, and CLOSES THE DOOR - -  
>SMASH TO BLACK.<p>

**MAIN TITLES:**  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

2.  
>FADE IN:<br>INT. CORY'S ROOM - NIGHT  
>The crowd on the TV still cheers from the celebration of New Years Eve as Jill<br>sits on her knees looking down over her latest victim: Cory. She examines his still  
>fresh and warm body as she scans him up and down with her eyes now turning<br>into a panic.

She gasps and covers her mouth to refrain from screaming as she realizes she  
>might've made a mistake. A mistake she can't dig herself out of as now it's<br>completely plausible she could be easily caught. When would his parents be  
>home? How long before a neighbor comes by? Surely, she can't just burn the<br>house and walk into the night on this one; there's people all over the streets  
>celebrating. Surely they'd see a young girl covered in blood, scratches and bruises.<p>

It's in this moment of these thoughts racing through her head that everything  
>comes crashing down in her mind as she begins to freak out. With a squeal, she<br>crawls backward and cours in the corner, looking on at Cory's body as if it could  
>somehow resurrect itself if she wasn't looking; whether or not that's a good thing<br>she couldn't decide.

The purse on the couch then comes to view - - she grabs it and brings it with  
>her back into the corner. She rumishes through the crap she has in there and finds<br>her phone, her last resort. She quickly scans through her contacts and comes  
>upon one name that she knows she can go to in this desperate hour. She dials<br>the number and holds her head down, palming her forehead while she sobs. The  
>otherside answers and she quickly sniffles back into a stronger persona.<p>

CHARLIE: Hello?  
>JILL: Charlie?<br>CHARLIE: Hey Jill, happy new year!  
>JILL: Yeah, um... hey, what are you doing right now?<br>CHARLIE: I'm at a party, ofcourse. Where you at? You never replied  
>to the invitation.<br>JILL: Yeah, about that, I, um... (looks back up at Cory) I ended up  
>somewhere else.<br>CHARLIE: Oh, cool, is it fun over there?

Jill remains silent - - her eyes glued onto Cory. She needs to think of something  
>and fast.<p>

CHARLIE: Jill?  
>JILL: Charlie, could you come pick me up from Cory's house? I'm way<br>too drunk.  
>CHARLIE: Sure, I'll be over in about 20 minutes. Actually, make that an<br>hour, we're in a really tough game of Scene It.  
>JILL: On New Years?<br>CHARLIE: We're film nerds, Jill, what do you expect?  
>JILL: Charlie, I really need you right now.<br>CHARLIE: (sighs) Okay, 20. Bye.

Jill hangs up and puts the phone back into her purse while her eyes remain stuck  
>on the dead corpse in front of her.<p>

INT. CORY'S LIVING ROOM - 35 MINUTES LATER  
>Jill opens the door as Charlie stands on the welcome mat. He instantly notices<br>she appears hurt.

CHARLIE: What the fuck happened to you? Did someone do this to you?  
>JILL: No, I fell out a window earlier.<br>CHARLIE: Where is everybody?  
>JILL: They left. Come in.<br>CHARLIE: Why?  
>JILL: Just come in, Charlie!<br>CHARLIE: (beat) Okay.

Charlie enters and he looks around as Jill closes the door behind him.

CHARLIE: Where's Cory?  
>JILL: Follow me.<p>

Jill continues up the stairs... Charlie stays behind and watches her go up... he now  
>knows something isn't right... Jill looks back.<p>

JILL: CHARLIE.  
>CHARLIE: Okay, okay.<p>

Charlie cautiously makes his way up.

3.  
>INT. CORY'S ROOM - CONT'D<br>Jill stops at the door and looks back at Charlie who now has the most curious  
>look on his face. Jill's heart races and she begins to shiver.<p>

JILL: Charlie, you promise not to say anything about what I'm about to show you?  
>CHARLIE: Jill, what's going on?<br>JILL: Charlie, just promise me, okay? You're my friend, right?  
>CHARLIE: Ofcourse but - -<br>JILL: (tears in her eyes) Just promise.  
>CHARLIE: (beat) I promise...<p>

Jill opens the door and she enters the room. Charlie gives her the side eye treatment  
>and continues forward at a slow pace. He enters as Jill closes the door behind him.<br>And then he looks down at the floor - - and there he is. His heart nearly stops.

CHARLIE: (freezing up) Jill... Jill.  
>JILL: (coming forward) Charlie, I need your help.<br>CHARLIE: (eyes still stuck) What happened to Cory? Is he okay?  
>JILL: He's dead.<p>

AN IMAGE OF PRICHARD DEAD IN THE ELEVATOR SPLICES THROUGH HIS MIND.

CHARLIE: (he begins to shake) Why - why, did you check his pulse, are  
>you sure he's dead, what happened to him?<br>JILL: Charlie, don't freak out.  
>CHARLIE: (it hits him) Did you do this to him?<br>JILL: (begins to sob) He was going to rape me, Charlie, I had no choice.  
>CHARLIE: Well then call the cops.<br>JILL: I can't.  
>CHARLIE: Why not?<br>JILL: Because Charlie, I need to get rid of him or else they'll know it was me!  
>CHARLIE: They - they'll understand, self defense.<br>JILL: No, I - look, I just can't.  
>CHARLIE: Well why the fuck you bring me here?<p>

Charlie goes for the door and Jill slams her hand on it closed.

JILL: Listen to me, Charlie, I need your help.  
>CHARLIE: For what?<br>JILL: I need to dispose of his body and quick.  
>CHARLIE: Dispose? Why the fuck can't you call the police? Do you want<br>me to call the police for you?  
>JILL: No.<br>CHARLIE: Then why the fuck did you bring me here? !

Jill realizes she's not getting through to him as easily as she hoped. Charlie looks  
>down and notices Jill's hand laying on his belt.<p>

JILL: I'll do anything, Charlie.  
>CHARLIE: What are you doing?<br>JILL: (unbuckling his belt) You're gonna help me, right?  
>CHARLIE: Jill, stop.<br>JILL: Because I need you and I need your help. I'm your friend, remember?

She slides her hands into his pants - - he tries to pull away but she already has grab of him.

CHARLIE: Oh my God.  
>JILL: Want me to suck your cock, Charlie? Is that it?<br>CHARLIE: Jill -  
>JILL: I'll let you fuck me even, anyway you want it, just name it.<br>CHARLIE: Sto - stop.  
>JILL: I do everything. I can deep throat, I swallow, you can cum all over<br>my face if you want. Missionary, doggy, anal, I don't care.  
>CHARLIE: I'm not going to - -<p>

Jill kisses his neck then down his chest. Charlie is powerless against her; he can't  
>even register a full thought as her head makes her way down and she falls to her<br>knees. She slams him against the wall, pulling off his pants as she begins to  
>pleasure him. And just like that - - all his cares and worries in the world are gone.<p>

His eyes close, letting every bit of the pleasure in as his heart begins to race  
>and his whole body begins to sweat. He opens his eyes and watches her head<br>bob back and forth near his crotch - - his vision practically blurry from the  
>stimulation. And then he looks back up - - Cory's dead body still laying there - -<br>and conscience kicks back in. He pulls her off and pulls his pants back up.

CHARLIE: What are you doing? This is insane, you killed somebody!  
>JILL: And you're gonna help me get rid of him.<br>CHARLIE: Fuck no, I'm not.

Jill stands up to get back face to face with him.

JILL: Really? I have a whole mouth full of your dick DNA - - try explaining that  
>to the cops when they get here when I tell them you both tried to rape me.<br>CHARLIE: Jill, what the fuck?  
>JILL: You help me get rid of him and I won't say anything. We won't<br>even have to talk anymore or so much as look at each other in the hallway.  
>And my offer for fucking you still stands to put the cherry on top of this<br>deal. We get rid of him... we fuck... and we go on with our lives. Sounds  
>nice, doesn't it, Charlie?<p>

Charlie is mortified by what she's suggesting - - but damn, the deal isn't sounding  
>too bad in his head at this moment. Jill licks her lips, teasing him on... he knows<br>better but he thinks he has a solution...

CHARLIE: (gulps) Okay.  
>JILL: (perky) Good! Let's get started, shall we?<p>

Jill bounces off and grabs gloves she already had set up off to the side and throws  
>a pair to Charlie. He grabs them, still in shock by everything occurring right now<br>and she slides on her gloves.

JILL: Now I was thinking we put him in your car and we could just drop  
>him off in the woods or something. Then we come back, clean up the<br>blood, get rid of any evidence and we leave before sunrise. Sound good?  
>CHARLIE: (nods) Sure.<br>JILL: Oh and do you wanna fuck me when we get back or put a rain  
>check on that until further notice or what? I know you might be a little<br>freaked out by this so I won't be offended.

This is extremely fucking odd - - especially with how cavelier she's now acting  
>in comparison to how she was acting before. Charlie's still in a complete daze.<p>

JILL: We'll figure it out later. No need to rush the details, right? Okay, come on.

Jill grabs Cory's feet and looks back at Charlie. He's pressed up against the wall,  
>frightened by the very look of the dead body in front of him.<p>

JILL: Hey, the longer you stand there, the more time we waste doing this.

CHARLIE BOLTS FOR THE DOOR AND RUNS DOWN THE HALLWAY.

JILL: (sighs) Mother fucker.

INT. CORY'S LIVING ROOM - CONT'D  
>Jill pursues him at full speed as Charlie's already at the stairs. He gets to the<br>door struggling to unlock it. He gets it open - - JILL GRABS HIM FROM BEHIND  
>AND THROWS HIM TO THE FLOOR, SHUTTING THE DOOR ONCE AGAIN.<br>Charlie tries to get to his feet and Jill pulls the knife she used on Cory from her  
>back pocket.<p>

JILL: I don't wanna have to kill you too, Charlie.  
>CHARLIE: Just let me go! I'll do anything.<br>JILL: (sighs) Fine. Only because you didn't say, "please."

Charlie looks up at her... "seriously?" She gestures to the door and watches  
>him slowly get up. He cautiously walks by her and goes back to the door.<p>

JILL: I'll tell the investigator you only fucked my mouth and not my ass or  
>anything. I think your parents would be less ashamed if you only forced<br>me to give you a BJ instead of wanting gay anal sex or something.

Charlie stops and looks back. Gritting his teeth he forces out what comes next - -

CHARLIE: Let's hurry up and get this over with.

Charlie willingly makes his way back up the stairs as Jill watches him go with  
>a smirk on her face.<p>

JILL: Thank you, Charlie.

Jill plays with the tip of the knife as she makes her way back up the stairs.

INT. CORY'S ROOM - CONT'D  
>Charlie enters and looks down at Cory's body - - this is still surreal to him. This<br>is shit he's only seen in movies and he never once thought he'd be in such a  
>situation. Jill enters behind and shoves him gently by just a tad. He then makes<br>his way to Cory's upper side and lifts him under his arm pit. Jill grabs his legs  
>and they both lift.<p>

INT. CORY'S LIVING ROOM - CONT'D  
>They make their way down the hallway with the corpse in their hands. Charlie<br>is nearly about to puke, Jill too, even. They make it to the stairs and Jill carefully  
>steps backward down. A lightbulb goes off in her and she drops his legs, which<br>then makes Charlie drop the top half - - Cory's body tumbles down the stairs.

JILL: We need to wrap him in something!

Jill doesn't even look behind her while Charlie's eyes are stuck on Cory rolling  
>and bumping all the way down. It finally hits the bottom and his focus goes back<br>to Jill.

JILL: I should've thought of that in the first place! We can't be seen just  
>walking around with a dead body. Duh!<p>

Jill runs down the stairs as Charlie begrudgingly follows behind. He stops and  
>looks at Cory's body in a pretzel as Jill carries onto the kitchen. She returns with<br>a box full of trash bags and throws it into Charlie's arms as she's already pulled  
>out one.<p>

JILL: Cover his top half, I'll do the bottom.

Charlie takes out a bag and does as he's told while she does her part. Cory's  
>body is now covered in trash bag - - Jill stands up and looks down as if it's<br>a piece of art she doesn't quite understand.

JILL: Hm. This still looks suspicious. But this should cover any blood getting  
>in your trunk. Perhaps a blanket? (waits) Yeah? I thought it was a good idea, too.<br>Glad we're on the same page.

Jill exits and returns back again with a blanket. She throws it on top of Cory's  
>body and they roll him up in it together.<p>

4.  
>CUT TO:<br>INT. CHARLIE'S CAR - NIGHT  
>Charlie drives along as Jill sits in the passenger seat - - asleep. They hit a bump and a loud<br>THUMP rises from the trunk - - Jill remains knocked out. Charlie looks over at her,  
>trying to piece together how all this is possible. How such a sweet looking girl<br>could be capable of such immoral actions. Sex for power is one thing, but killing?  
>He can't even put it all together if he tried.<p>

EXT. WOODS - A MOMENT LATER  
>The car is off in the distance as Jill and Charlie are deep in the woods carrying the<br>body of Cory. A coyote howls in the distance an instant worry works into  
>Charlie's face.<p>

JILL: Just a coyote, Charlie. I'll protect you.

Jill drops Cory's body and stops as Charlie does the same.

CHARLIE: It's not very far, don't you think?  
>JILL: It's about a hundred yards. Could you get the shovels, please?<p>

Charlie nods a small nod and returns to the car.

JUMP CUT:  
>A SHOVEL digs into the earth and pulls back out, hauling out dirt and is thrown<br>off to the side. Jill and Charlie continue to dig a hole - - Charlie can barely stomach  
>this any longer.<p>

CHARLIE: He didn't really try to rape you, did he?  
>JILL: He kinda did. I could've handled him though. Well, I did handle him but<br>then, you know...  
>CHARLIE: No, I don't know, why don't you explain it to me.<br>JILL: I wanted to kill him.

Charlie looks up at Jill, still trying to figure this out but he doesn't question it  
>any further and continues digging, trying to speed this up so he can get out here<br>even quicker.

CHARLIE: You didn't have to kill him.  
>JILL: You think I'm proud of what I've become, Charlie? I'm sick of who I am.<br>I think it's fucking disgusting. But this is what life made me and I can't hold  
>it back no matter how hard I try. I'm not a bad person... I'm really not.<p>

Charlie stops and watches Jill as she continues to go faster and faster.

JILL: It's just circumstances are different than what they used to be. I'm still  
>the same person I was: I like the same foods, I have the same hobbies, I<br>have the same opinions. Just when something happens to you, like what  
>happened to me... it changes you, Charlie. Not as a person but how you<br>process your anger. You either die letting it eat at your brain or you fulfill  
>something inside you to just feel something again for - - 2 seconds.<p>

Jill stops, realizing the hole is deep enough now.

JILL: You think I don't deserve to live, Charlie? Well here I am... here's  
>my grave. You have a shovel in your hands and we're in the middle of the<br>woods. Here's your shot. Strike me down and get away with it. Take me  
>off this planet if you think I'm some depraved being. It'll sure as fuck solve<br>a shit load of my problems.  
>CHARLIE: (beat) No... what happened to you?<br>JILL: (beat) I was raped. For real, not like right now but... actually raped  
>by Patrick. On the night of prom, I went to go visit him because I was just<br>not in the right headspace. Ya know? And it turns out he was obsessed  
>with me from the moment he met me because of my cousin. He had hundreds<br>of tapes of her made by Billy Loomis. And he wanted me to be her... and  
>he wanted to sleep with me just so he can feel like he had a part of her.<br>But I wouldn't allow it... so he raped me. He attacked me and he raped me  
>and just when I thought I could get away, him and his buddies buried<br>me ALIVE. In the middle of the woods along with countless other girls  
>they've already done it to. Sick right? That here I am, doing the same<br>exact thing he did to them and I've become what I hated. (beat) So I took  
>revenge. And I found them. And I killed them. Well, except for one. He's<br>in a coma... probably about to wake up as we speak. And once he does,  
>I am fucking screwed if his memory is still in tact. But I wasn't a killer,<br>Charlie. And if I'm going to silence him, I need to have it in me  
>to do pre-meditated murder. So I tested it out... some fucking pervert.<br>Just to see if I could do it. And I could. I did. And that's when the most  
>horrible thing happened... I liked it. I enjoyed watching him die. And did<br>I know this man? No. I just knew, somewhere deep down inside me,  
>that he deserved it. And that brought me joy to get rid of him, for the<br>world. And then I killed again. This time, perhaps she didn't deserve it  
>but it felt like like she did at the time. I tried killing her in her car and the<br>car flipped which is why I'm covered in brusies and scratches. And then  
>I killed someone for absolutely no reason... a bum, of all people, just sitting<br>there in the alley. For God's sake, he had sympathy for me to see the shape  
>I was in. But it didn't matter... I was angry... it was in me... so I killed him,<br>too. So when Cory pulled his shit on me... and it reminded me of what  
>happened with Patrick... it was like it was just... easy. I had no intentions<br>of hurting him... but I did... in the worst way imaginable. And now I've  
>dragged you into this...<p>

Charlie knows this girl is beyond troubled and he can't help but feel immensely  
>sorry for her.<p>

CHARLIE: You don't have to... do anything extra... sexually... to keep me  
>quiet, okay?<br>JILL: (nods) Okay.  
>CHARLIE: Are you gonna stop killing?<br>JILL: (shakes her head) No.  
>CHARLIE: You need to promise me you'll stop.<br>JILL: Not until I silence Patrick's friend. And then I'll stop.  
>CHARLIE: (chuckles) Jill, what the fuck?<br>JILL: What?  
>CHARLIE: This is sick. This is the sickest fucking thing I've ever heard.<br>(beat) Okay, you're gonna kill this other guy in a coma... and then you're  
>done? You're done killing people?<br>JILL: (nods) Yeah, I guess.  
>CHARLIE: You guess?<br>JILL: Yeah, I'm done.  
>CHARLIE: (beat) Okay... let's bury this body... and we'll just go our seperate ways.<br>JILL: (smiles) Thank you, Charlie.

INT. CHARLIE'S CAR - MOMENTS LATER  
>Charlie drives forward, the sun rising in the distance. Jill blankly stares out the<br>window. Charlie notices the time on his dashboard.

CHARLIE: Could you grab my pills in the glove box?

Jill does so and hands it to him. He pops in a few and swallows them then gives  
>them back to her. She examines the label.<p>

JILL: What are these?  
>CHARLIE: They're my PTSD meds.<br>JILL: Post Traumatic Stress Disorder?  
>CHARLIE: Yeah.<br>JILL: What was so traumatic?  
>CHARLIE: (beat) Penciatti Hotel.<br>JILL: Oh... I'm sorry.

5.  
>CUT TO:<br>INT. CORY'S LIVING ROOM - MOMENTS LATER  
>Charlie and Jill enter, the room now a stagnant and eerie quiet. Blood trails down<br>the stairs to where they wrapped Cory by the door. Charlie's immune to it now...

CHARLIE: Where do we start up in this bitch?  
>JILL: I guess where it happened.<br>CHARLIE: Okay.

Charlie charges up the stairs as Jill locks the door... she notices that now Charlie  
>is a bit different... possibly a bit more in charge now of his attitude. She shrugs<br>it off and continues on towards the kitchen.

CUT TO:  
>INT. CORY'S ROOM - CONT'D<br>Charlie enters and doesn't delay. He quickly gets to work wiping any blood  
>from the scene of the crime with a scrub brush to the carpet. He keeps it going<br>without a stop until he's finished. He notices a long piece of hair on the couch - -  
>could be his, could be Jill's. He picks it up and takes it out of the room, throwing<br>it - - or trying at least - - down the hallway.

He re-enters and looks around the room, trying to get an essence of who Cory  
>truly was. Trying to make himself feel better about anything he's just done, that<br>if Cory wasn't truly a good person then maybe it would relieve that horrible  
>feeling in the pit of his stomach. The closet door comes into view and slowly<br>he opens it up. He seems like a regular guy, with regular fashion with a regular  
>life. A small shoe box fall from the top shelf.<p>

The box's top pops off and papers push out. Charlie bends down to pick them  
>up and put them back where they belong - - but something catches his eye. He<br>views the papers closer and realizes they don't belong to Cory. No, they belong  
>to Patrick. And under one page of Patrick's writing is a writing sample of Cory's<br>with entire sentences re-written to match Patrick's.

FLASHBACK -  
>EXT. PENCIATTI HOTEL - ROOF TOP - NIGHT<br>Charlie has the gun pointed directly at Danny's head as Roy stands next to him.  
>The entire building is on fire around them as the ground cracks beneath their feet.<p>

CHARLIE: I wanna know why first.  
>DANNY: (chuckles) You really think I'll tell you?<br>CHARLIE: (putting the gun to Danny's forehead) Yeah.  
>DANNY: (smiles) I'm a journalist, boys... this was my big story... Gale<br>Weathers did it in '96... and I was gonna do it today... a journalist, apart of  
>the story with an exclusive inside look at the Penciatti Hotel Massacre. It<br>was her big break... this is mine.  
>CHARLIE: Not no more, asshole. You're caught.<br>DANNY: Don't you get it? Even in jail, I'll still have the story. Claim to be  
>wrongfully accused, "the killer is still out there" and then... a manhunt.<br>I'll have them eating from my hands. Creating my own press, frolicking in  
>the news as the one man who knows it all... I'll have fans supporting me,<br>wanting to break me from jail. Picket signs and protests to set me free,  
>don't you GET IT? ! And you know who will be one of those protestors?<br>Your own friends... Jill and Jenny... you see, Woodsboro High is a small  
>place and those walls can talk. And one thing is for sure, Patrick's quick<br>escape from the state sure was suspicious... so I did what I do best... I  
>created the news. So I wrote some letters using some of his writing<br>samples... had some help too...  
>CHARLIE: From who?<br>DANNY: (chuckles) Now that's a secret. The longer it lasts the more  
>FAME I achieve. SO many suspects with different motives, it'll be<br>impossible for it to be a lowly reporter that would have done it...  
>ROY: You're fucking crazy.<br>DANNY: Oh... I know. And that's why it's going to work.

BACK TO THE PRESENT:  
>Charlie's eyes shift as he puts the pieces of the puzzle together. Cory was<br>the one who helped Danny put the letters into Jenny's locker all those  
>years ago. Perhaps Charlie has found his reason afterall... but should he<br>tell Jill?

INT. CORY'S LIVING ROOM - CONT'D  
>Charlie stares down at Jill as she scrubs the bottom step. He sighs and knows<br>she's taking way too long.

CHARLIE: You gotta hurry up.  
>JILL: You think I don't know that?<br>CHARLIE: Jill, you got two minutes and then I'm getting the fuck out of  
>here, with you or not.<br>JILL: My ass you are. (sweetly looks up) I'll be another minute, okay?  
>CHARLIE: Whatever.<br>JILL: (under her breath) You don't have to be a dick about it.  
>CHARLIE: What'd you say?<br>JILL: Nothing.  
>CHARLIE: No, you said something, what the fuck did you say?<p>

Jill stops scrubbing and stands up tall with a look of heated, but reserved, agression.

JILL: What has gotten into you?  
>CHARLIE: You dragged me into this shit and I wanna get the fuck out!<p>

CHARLIE PUNCHES THE WALL and marches back into Cory's room. Jill just  
>watches him go, her eye brow raising in curious wonder.<p>

JILL: Hm... interesting...

She scratches her back and realizes the knife is in her back pocket. She pulls it  
>out and looks at it in front of her, laughing at the tought of it.<p>

JILL: Ah fuck. Hey Charlie, we forgot to get rid of the knife!

THE DOOR BEHIND HER OPENS. Cory's mother stands there looking on at Jill  
>wondering why she's holding a knife with dry blood on it. Jill thinks quick and<br>SLIDES THE BLADE INTO HER GUT and PUSHES THE DOOR CLOSED WITH  
>THE MOTHER'S BACK. Jill looks the mother in her eyes - - she can't register how<br>bewildering what just happened. Jill puts her out of her misery and quickly  
>SLIDES THE KNIFE ACROSS HER STOMACH - - HER INSIDES SPILLING<br>OUT ONTO THE FLOOR BELOW HER.

Jill steps back, in complete shock that it actually worked. The mother's body  
>topples over and falls to the side - - instantly dead. The entrails hang from<br>her stomach cavity and steam up from the acids and warm blood. Jill can't  
>help but giggle and keep a goofy, funny in an accidental way, grin on her face.<p>

JILL: (with child like glee) Holy shit!

Charlie walks down the stairs while looking at his phone and proceeds to the  
>door.<p>

CHARLIE: Okay, Jill, we're leaving - (notices the body) WHAT THE FUCK? !

Jill looks at him and shrugs, still trying to hold in her laughter.

CHARLIE: Another one? Another fucking dead body, Jill!  
>JILL: (her happiness instantly fades away) Hey, FUCK YOU, ALRIGHT?<br>CHARLIE: Fuck me? FUCK YOU!

Charlie violently PUSHES HER. Jill points the knife at Charlie's throat and he  
>presses his self against the blade.<p>

CHARLIE: You gonna kill me, too? Huh? You bratty little bitch, GO FOR IT!  
>FUCKING KILL ME! C'MON!<p>

Jill steps back - - actually a bit weirded out - - but he keeps coming forward. He's  
>not backing down and goes even wilder, pulling at his hair and screaming at the<br>top of his lungs.

CHARLIE: C'mon you stupid bitch, DO IT!  
>JILL: Shut up.<br>CHARLIE: What are you waiting for, huh? !  
>JILL: SHUT THE FUCK UP, CHARLIE.<br>CHARLIE: WHAT ARE YOU WAITING FOR? !

Jill throws the knife down and PRESSES HER LIPS AGAINST HIS and pushes  
>him into the wall, knocking over a picture frame that smashes to the floor. He<br>kisses her roughly back and tries to outdo her by picking her up and throwing  
>her legs around his waist. They continue kissing as he throws her down onto<br>the stairs, tilting his feet onto the last step to hold her up while ravishing her.

She pulls off his shirt and bites his shoulder as he starts to lift up hers but  
>with her pinned down, it's a bit harder than he imagined. He RIPS IT down the<br>middle instead and kisses into her breast as she pushes them together for him.  
>He continues downward to her stomach and pulls down her pants while pulling<br>down his own.

JILL: Fuck me, Charlie.

She grabs him from inside his boxers and guides it in between her legs.

CHARLIE: We need a condom, what are you - -  
>JILL: I SAID FUCK ME.<p>

The moment gets the best of him and he gives in, thrusting away at her anyway.  
>She moans as she squeezes tighter around his waist to pull him in harder each<br>time he gyrates further inside her.

"Blue Moon" by Bobby Vinton then begins [youtube. com/watch?v=NTPTa278dZY].  
>CLOSE IN on Cory's mother's face on the floor - - the blood slowly spreading<br>all around her and eventually passed her head. Her lifeless, dilated pupils are  
>cold and dry - - her face now just a statue and her skin growing pale literally<br>by the second while in the background, Jill and Charlie have sex on the stairs  
>behind her while her slayed corpse is present. Jill moans louder, a pleasurable<br>outcry at the joy of life while the mother is simply... still... with the frozen  
>undeniable terror and confusion permanently placed on her face.<p>

FADE TO BLACK as the song continues to the credits...

* * *

><p>No questions this episode. However, if you have any additional comments or would like to tell me about your favorite piece of dialogue, feel free to leave them here! :)<p>

_**200 reviews**_ will be needed to start up the season again to finish off the FINAL HALF and CONCLUSION of WOODSBORO HIGH. So make no mistake, **your reviews are still CRUCIALLY needed for THIS chapter**, so please leave your thoughts. There will be multiple "between episode" chapters after the next one, so obtaining **200 reviews**should be fairly easy.

Fans of Scream need a place to exhaust their lungs. Rave about all things Scream, the fanfiction on other websites and the artists who make it possible until you can't scream about it anymore. Join the facebook page today!  
>facebook. compages/Scream-Fanfiction-Fanpage/189516767780943

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>fanfiction. nets/7699772/1/The_Scream_FanFiction_Awards_2011

Add this story to your **favorites and story alert**lists to know when Woodsboro High returns for the FINAL HALF of the season/series!

Send in your questions for the Q&A coming very soon!

Remember - -  
><em><strong>200 reviews<strong>_ to continue and finish the final half of the final season of Woodsboro High!


	21. Marnie's Blog: Entry 250

#250  
>[Wednesday, January 26th, 2011]<br>OMG! OMG! OMG! I just got theeeeeee best news! My mother finally heard my cries! In April, we're moving back to our old house! And not only that, I'LL BE ATTENDING BRECKIN HIGH AGAIN! That's right, I get to graduate with all my old buddies! So excited! My two and only friends over here are a bit bummed but I know they'll be fine without me.

About my gullible but lovable and silly friend: as I predicted, her and the douche broke up. He got BACK with that psycho slut. I'm also absolutely POSITIVE he was seeing this one girl, who I will not name, but let's just say she's on the swim team. Or was, whatever. I don't know the bitch's deal but she's a slut too, especially if she's still seeing him while he's with the psycho slut too. I love that nickname, "Psycho Slut." Fits her perfectly if you ask me. But anyway, what the eff? ! She's distraught for now with Valentine's Day coming but in 3 months time, I'm sure she'll be fine without me.

I can't think too much about her though. Pretty soon, I'll have my own dating life again. The boys over here just aren't into me or something. Nothing ever works out. At Breckin, I could get a guy easy. Here, there's always someone to top what I can offer. I don't wanna complain though since there's some guy my friends got me talking to on Facebook recently. Yes, readers of Marnie's blog, I have a new crush! He wants to wait until I come back before we meet. No pressure! And I kinda like it this way...

I'm just so glad I'll get to wear my old school's colors for my cap and gown, be on my home stadium's football field and hear our victory song for my high school graduation! This is the best feeling ever! Anyway, gotta get back to my honors homework. Not like it matters much since I won't be attending here anyway! Yay!

10:28 PM

**200 reviews** for the season to start back up!


	22. Q&A With the Author: Part 2

**Q: How does it feel to be writing the final season?**  
>I'm glad it's here. It's been a long time coming. I'll just be glad when I step back and look at it all as one long story. Hopefully others feel the same and people will remember it.<p>

**Q: What will you be doing once you're done with the show?**  
>I'll still be around on FF. I won't be writing any stories but I'll be reviewing other people's work like always. And for the show specifically, I'm going to use it in the future. Hopefully you'll be seeing some incarnation of it either in movies or on TV. Obviously it won't be in a Scream film, unless I get insanely lucky, but the story (and stories) will find their way to becoming reality.<p>

Q**: Wasn't it Jenny in the chair and Marnie who was hung in the deleted scene of Scream 4?**  
>Yes but that was also in accordance to the alternate opening which had Marnie be the "main girl," which is one of the reasons it was cut out from the film since Jill and Charlie would know Steve Orth was killed first and put in the chair (which, in canon, is Marnie) and Casey Becker died second and was hung from the tree (which would be Jenny). So to fit canon, and since the scene isn't in the film, I recreated elements of the deleted scene for Niley to find them in accordance to how they died in the film. You will actually SEE these actions followed out in the season finale.<p>

**Q: Who is Niley talking about when she quotes "Sally's Song?"**  
>Robbie. I think it's funny that people guessed everyone but him when it's clear in the show she's still not over him. But another important thing is Niley herself doesn't know she connects it with Robbie, she just knows she connects with the song for some reason. Gotta look into the context of things and the subtext of what's there on that one. Those two's story is still far from over.<p>

**Q: Will there still be "opening puzzle pieces" on the episodes that take place during Scream 4? I mean... how's that supposed to work? lol**  
>You'll see. That's a surprise ;)<p>

**Q: Is the finale going to be intense like the last 2 finales or will it be mostly just a "behind the scenes" look into how Charlie and Jill did it?**  
>There's a good mixture of intensity and emotional catharsism. There's some really exhilirating stuff mixed in with heavy dramatic story elements. My initial urge is to excite you with action but this show has always been about it's core story and it's characters, so those need to be resolved in a way that'll be satisfying in a way people won't expect. I think people will be surprised the route the finale goes down but it'll be a good type of surprise. You might wanna have some tissues with you for those last couple of episodes, let's just put it like that.<p>

**Q: You're not going back to summary format, are you?**  
>No, the audience spoke loud and clear on that one. Fully written episodes from here on and out. It's the final season afterall.<p>

**Q: Was Jill going to kill Jenny in Pathetique Part 2?**  
>Absolutely not. She was just trying to scare her and get information out of her in the only way psycho-Jill knew how. At that point, Jill still very much wasn't thinking of killing anybody, she only had some regret and remorse for killing the people she had already killed. Some people may have wanted that scene to go further, but it needed to be VERY limited in effort to keep the story true to what happens in Scream 4 and the level of fear Jenny has in the opening scene of that movie - - which is ZERO until the moment Marnie crashes through the window. Anything more would suggest a) Jenny should be much more terrified in the opening b) Jill is attempting to kill her; and neither should be the case. It was a way of explaining why Jenny thought it was Trevor in the opening of Scream 4, because to her, she believed he had already done something similar before. It's my very elaborate way of explaining miniscule things. Plus, I don't know why anyone would expect Jill to be this awesome on-phone Ghostface persona without some practice first, right?<p>

**Q: Dumb question but why hasn't Charlie seen Home Alone? Will this come into play later?**  
>It's kinda sad how this joke went over so many people's heads lol. Charlie, who is played by Rory Culkin, is Macauly Culkin's brother, who plays Kevin McCallister in Home Alone. It was just an inside joke... that apparently nobody got lmao.<p>

**Q: Who did you want to appear to be the most pathetic in Pathetique?**  
>I just wanted to show that at this point in the show, all the characters are pretty damn pathetic with what they're doing, gone through and where they're going. Only some of them are truly despicable but, they're all pathetic either in the way they feel of themselves or the way other people look at them. Jenny's pathetic for believing Trevor's nonsense; Trevor's pathetic for doing something he can't even explain; Jill's pathetic for the extremes she goes through to get information from Jenny; Robbie's pathetic to still be keeping his secret; Roy's pathetic for trying to save a lost cause; Tess is pathetic for being unable to fix what she knows is wrong with her; Esline's pathetic because she can't interact with Roy; Marnie's pathetic because she has to take advice from Niley of all people on how to handle Jenny; Niley's pathetic because she's still trying her best to stay connected with the group; Kirby's pathetic because she continues to sleep with Topher; and Olivia is pathetic for doing whatever she's up to that she hadn't revealed yet at that time (sleep with Trevor)<p>

**Q: Why did Kate still invite Sidney to stay at their house? Jill told Kate that she hated Sidney and was upset that the 3 killers failed to killed her.**  
>There's a couple reasons why we can assume this happens:<br>1) This is in Novemeber, so it's possible Kate had forgotton Jill had said that by April.  
>2) Kate might've been backed into a corner and had no choice but to take Sidney in.<br>3) Kate didn't think Jill would be capable of murder so it didn't cross her mind as that big of a deal.

**Q: Why aren't Roy and Niley at Kirby's the night of the massacre?**  
>Who said they weren't? ;) But really, *Ghostface voice* you'll find out soon enough! And no, they don't go to Disneyland.<p>

**Q: Is Jill worried what happened to Chelsea will happen to her too?**  
>In the way that if something were to happen to her and nobody would care? Yes. In that she might harm herself? Maybe (theoretically, since we know the truth of what happened). In that she'll go crazy after something drastic happens to her? No, since she doesn't fully realize how far down the rabbit hole she currently is and because she doesn't know how far gone Chelsea was when she snapped. There's a moment in Pathetique: Part 2 that really hones in on Jill's mind set and how she connects her feelings to Chelsea:<br>JILL: Because people are what make the world go round, Kirby. If they think negatively of you... or don't think about you at all... you might as well stop living. Because what other purpose do you have?  
>KIRBY: Jill - -<br>JILL: I've been thinking about what you said. About Chelsea and all that. About being desensitized or whatever.  
>Jill cuts off Kirby to talk about Chelsea, so it's lead to believe that Jill connects the thought of Chelsea not mattering enough to people to care about her after she died. She then tries to make sense of how it didn't matter enough to them by saying "she was our best friend" to which she obviously can't find an answer. Also, soon after, Jill tells Kirby she's killed someone which is an obvious cry for help or at least a ploy to stay in Kirby's thoughts so at least one person is thinking about her.<p>

**Q: What's the theme song for this season?**  
>I've looked at a lot of songs for that and I can never pick just one. I think this season has plenty of songs that speak directly to it. I wanted to find a song for the main titles but I couldn't even do that. When I listen to Skrillex, I feel like it totally captures what Jill's mind is like with the choppy way it shifts tones and goes chaotic out of nowhere. Someone suggested to me "Kill Everyone" by Skrillex but it doesn't fit - - Jill doesn't want to kill everyone, she just wants to kill certain people. If everyone was dead, who would be her fans? And then Florence &amp; the Machine are such a mood setting band and one of their songs off their new album really captures the dark, sinister tone this season has. Then there's depressing stuff and then there's happy stuff and then there's the ironic stuff. And then there's Paramore, who truly seems like the spokesperson for Woodsboro High. "Monster" by Paramore was an easy pick last season since it captured everything I was trying to convey. This season is a big pot of emotions stirred together that it's almost impossible to find in just one song. It's one of the reasons why all the episodes are song titles and feature sequences set to music. So here's a list of songs that are majorly influenced by this season:<p>

Johann Johannsson - The Sun's Gone Dim and the Sky's Turned Black  
>Benny Benassi - You are a Cinema (Skrillex Mix)<br>Florence + the Machine - Seven Devils  
>Ida Maria - Bad Karma<br>Paramore - All I Wanted  
>Paramore - Brick by Boring Brick<p>

**Q: Why did you have Olivia sleep around with Trevor too?**  
>When I first saw Scream 4, that was my initial gut feeling. There's a certain look, vibe and overall demeanor she gives off in that first scene she's with Kirby &amp; Jill in the car when she tells them that "Trevor called her last night." When Kirby says Trevor called, she says it as if it's a totally unnatural thing, yet Olivia is comfortable with it. I don't know, seemed odd to me. Another fishy thing is we never actually see that phone call but for whatever reason, Williamson made a point to include that she did in fact get a phone call from Trevor AND Ghostface the night before yet Kirby didn't. Plus she gets it bad... and I mean BAD in comparison to all the other characters. It might've just been to send Sidney a message but I choose to read it as something else.<p>

**Q: Does Jill know that she and Roman are related?**  
>This won't be touched upon in the show so I figured I'd answer this here and give my interpretation on that. Jill knows but the other kids at her school don't make that correlation with her for a few reasons: 1) Since there's 7 Stab films, the killer of one of them gets lost in the muck, especially since most of those teens were very little when Stab 3 came out but people clearly know of the events in the first Stab since it occurred in Woodsboro 2) Roman was only Sid's half brother *coughs* so the long gap between cousin and half brother, people don't think to connect the two or freak out about it as much as being related to Sidney. 3) Not everyone knows of the Stab films' validity or when they stopped being true to events and even if those events were twisted (only the nerds know stuff like that, like Jenny) so they hold the info given in Stab 3 with a grain of salt as it is.<p>

**Q: Where's Jill's Kill List that you said was coming?**  
>Still coming. Jill hasn't necessarily decided she's going to kill her friends yet, as we saw in the last episode. She very much was telling the truth (at the time) when she told Charlie that the guy in Colorado would be it and she'd be done.<p>

**Q: Was Cory involved with what went down at the hotel thing? Also how did Patrick play a role in that Cory/Danny thing?**  
>After Patrick left, Danny had the idea to use him as a possible extra suspect in the killings by making Jenny believe he was still around. He enlists Cory to help him, since at the time he was distraught about his break up with Jill still. Cory, however, didn't know Danny would go as far as to kill people at the hotel. So simplized... Danny convinced Cory to help him write letters to Jenny, Cory wrote them using Patrick's handwriting samples, and Danny TRIED to frame Patrick into being involved if he were to be arrested but he was killed. There's an episode back in season 1 when Cory sees a "black figure" at the end of the hallway, possibly spying on him, when it couldn't have been Danny since at that point he was at Breckin High nor could it be Patrick because he had already moved (and was paralyzed). This was simply his paranoia messing with him, as if someone was watching him and knew of his guilty and deceitful act.<p>

_**200 reviews**_ for the final 10 episodes of the series! 5 episodes leading up to the **5 chapter long, series finale!** Ya better get to it! Anonymous reviews are welcome and reviews not following the format are welcome as well but at least try to make them about a paragraph long, if you can. If there's chapters you missed, you can always go back and review them.


	23. Episode 12: You Are a Cinema: Part 1

The following episode is rated:

**TV-MA LSV**

as it contains scenes of

**GRAPHIC HORROR VIOLENCE, SEXUAL CONTENT and PERVASIVE LANGUAGE - ALL INVOLVING TEENS**

Reader's discretion is advised.

_312 - You Are a Cinema: Part 1_

**PREVIOUSLY ON WOODSBORO HIGH:**

Jill watches the ambulance in flames in the woods. The Burned Passenger topples out of the car - she gestures forward to help him on instinct... then watches him burn instead.

* * *

><p>Jill stands in front of Charlie in the hole they've dug for Cory's body.<p>

JILL: He's in a coma... probably about to wake up as we speak. And once he does, I am fucking screwed if his memory is still in tact. And if I'm going to silence him, I need to have it in me to do pre-meditated murder. So I tested it out...

- JILL SLICES THE THROAT OF THE CLIENT

- JILL CHOKES THE BANK TELLER FROM THE BACK OF THE CAR

- SHE STABS THE HOMELESS MAN IN THE ALLEY

- SHE PLUNGES THE KNIFE INTO CORY'S CHEST

CHARLIE: You're gonna kill this other guy in a coma... and then you're done? You're done killing people?

JILL: (nods) Yeah, I guess.

CHARLIE: You guess?

JILL: Yeah, I'm done.

JILL GUTS CORY'S MOTHER. Charlie witness from the top of the stairs. They get into their screaming match which turns into steamy sex.

* * *

><p>Charlie and Robbie, SEASON 1, are walking home from Jill's house.<p>

ROBBIE: You're in denial, buddy.

CHARLIE: No, I don't wanna ruin the friendship so I'm not gonna do anything. It's opposite of you and Niley. You guys don't see each other often but Jill and I, well, we do so it can't work. Besides, I've been taken aback by Kirby lately.

* * *

><p>Charlie stands in the snow watching Kirby and Prichard on a horse driven carriage. He throws his snow globe present into a river.<p>

* * *

><p>Kirby and Lynn get hot and heavy at the party.<p>

TOPHER: ... I'm not yours, Kirby. Not anymore.

* * *

><p>In Charlie's kitchen - -<p>

KIRBY: Charlie... you're too nice.

He smiles and they share a quiet moment...

* * *

><p>- Trevor stands at the doorstep and kisses Jenny goodbye from the party.<p>

- Olivia and Trevor hooking up on New Years.

JENNY: Speaking of Trevor though, something weird happened the other day.

- Trevor slides the rose into Chelsea's old locker.

- Trevor talks to Chelsea's tombstone while Jenny, Niley and Marnie watch.

* * *

><p>- Roy and Tess fight uncontrollably in the car.<p>

- Roy comes to his locker and finds the note on it.

- Roy's outside Tess' house - - it's empty.

- Roy's at the New Year's party - - Esline kisses him - - while Tess watches then leaves.

* * *

><p>Marnie and Niley talk in the halls.<p>

MARNIE: Okay. And if you're my Santa, please make Roy my gift!

Marnie squeals and skips off.

* * *

><p>- Roy enters Jill's house and her head turns next to his... they come close.<p>

- Jill freaks out and makes Roy leave out the window.

* * *

><p>NICK: Robbie. I'm trying to be nice here.<p>

ROBBIE: Even if I was, what makes you think you'd be my type?

NICK: (beat) You're right. Sorry.

* * *

><p>FREDDY: Well look, I'm moving in February so if we could just... once have the marathon, it'd make me really happy.<p>

* * *

><p>SMASH TO BLACK.<p>

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1.  
>OPEN ON:<p>

EXT. JILL'S STREET - NIGHT

TITLE CARD: April 2011

Perkins lays dead in the street as Ghostface stands behind him with their head tilt. To the side is Hoss, a knife wound in the back - - his body twitches. Ghostface slowly turns to them and watches him come to.

HOSS: Shit... Perkins! Perkins!

Hoss sees Perkins' bloody body in the street.

HOSS: Oh, fuck.

He grabs his walkie.

HOSS: We have a man down at the Roberts residence, I repeat, a man - !

Ghostface kicks Hoss' face in. Hoss looks up at his attacker and Ghostface continues to STOMP in his chest until blood spits up from his mouth.

HOSS: Please! Please!

Ghostface kneels down and brandishes the blade. Hoss has a level of fear in his eyes that he's never felt or could even explain. Ghostface lifts their mask - - JILL.

JILL: Do I still need that note, Hoss?

His eyes widen in complete astonishment - - holy shit, how did she even pull this off?

HOSS: Jill?

SHE RAISES THE BLADE AND STABS HIM IN THE THROAT. He gushes blood out onto the street as he struggles to try and take her arm away. A smirk grows on her face... SHE STABS HIM IN THE THROAT AGAIN. The blood spurts up out of his neck and mouth then back down on his face. He's gone.

A CAR TURNS AROUND THE BEND. Jill puts her mask back on and stands up. It stops in front of them. THE CAR DOOR OPENS. It's Charlie. Jill lifts her mask back up when she sees it's him.

CHARLIE: What the fuck are you doing, in the middle of the street? ! Are you crazy? !

JILL: That's why I called you for help. I need you to put them back in their car and drive it a few blocks away.

CHARLIE: What about you?

JILL: Mother should be home soon. And then Kirby will pick me up the next street over once I'm done with her. You dropped Robbie off at Kirby's already, right?

CHARLIE: They're both coming to pick you up. I convinced them to stop at the store for popcorn first. And I had to make up some bull shit story about my oven still being on.

JILL: Good boy. Now get to it. Police should be on the way, too. And you don't want Robbie to get suspicious.

CHARLIE: Shit. Okay. (beat) Jill.

JILL: What?

CHARLIE: You sure you wanna do this? This is your mom. I understand everybody else but...

JILL: ... if you knew anything about her, you'd know this would go unfinished if she wasn't dead.

The soundtrack thuds.

JILL: Plus it makes our Stab remake more complete. Remember? My aunt had to die. Now she does too.

CHARLIE: ... 'k.

JILL: Don't you get soft on me, Charlie.

CHARLIE: I won't.

JILL: You know what must be done to your little love too...

CHARLIE: I told you, she's not my "love."

JILL: We both know that's not true.

CHARLIE: I love YOU.

Jill just blankly stares forward. No response.

JILL: I guess you'll be proving it soon enough, won't you?

CHARLIE: What do you care? You have two guys wanting you, me included makes a third.

JILL: Charlie, you know as well as I do that one is in jail, one I have to kill and then one... well you get the idea...

Charlie doesn't respond. He steps toward Hoss.

JILL: And Charlie.

CHARLIE: Yeah?

JILL: See you in the final act.

Jill steps backwards, sliding her mask back on and runs into the darkness underneath the trees, going into her backyard. Charlie looks down at his situation... he's screwed. He grabs hold of Hoss' legs and drags him to the cop car and opens the back door, shoving him in. He does the same with Perkins and closes the door. He looks around - - not a single person would know he was ever there.

He gets in the cop car and turns the ignition, putting the car in 'drive.' He drives off the street and around the block. Just than - - Kate drives up and into the drive way. She parks her car and goes to the back seat, unloading the groceries.

From behind the fence, we look through JILL'S POV as she watches her mother enter the house. We can hear Jill's breathing getting heavier in the mask. Charlie runs out from around the corner and quickly back to his own car. He jumps in - - Kate exits out and notices him getting in the car.

KATE: Hi Charlie!

He stalls.

CHARLIE: Uh, hi!

KATE: Were you just visiting Jill?

CHARLIE: Uh, yeah. Just saw her.

KATE: Were the police here when you got here?

CHARLIE: Yeah, they had to leave real quick. Donut run.

Jill continues to watch and looks into the house - - Sidney's putting away the groceries.

JILL: In the meanwhile...

Jill takes out a cell phone and puts it to her ear. Sidney answers the phone in the house.

SIDNEY: Roberts residence.

JILL: You're a survivor, aren't you, Sidney? Your one and only skill, you survive. I have one question for you: what good is it to be a survivor in this little drama if everyone close to you is dead?

SMASH TO BLACK.

* * *

><p>MAIN TITLES:<p>

DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)

and

AMC CHANNEL present (a dark, bloody basement)

Starring

JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)

CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)

OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)

ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)

TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)

JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)

MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)

NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)

KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)

ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)

with

SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)

and

SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -

(white lettering PUNCHES through)

SCREAM:

WOODSBORO HIGH

The Third and Final Season

Based on Events and Characters by Kevin Williamson

Teleplay and Concepted by Billy Bob D

FADE OUT.

* * *

><p>2.<br>FADE IN:

INT. CLASSROOM - DAY

TITLE CARD: January 2011

Daily lesson. Charlie sits in the back. Jill sits in the front. Instead of paying attention, he's watching Jill. Examining her every move. She's so innocent like. Such an angel. She does it so well. He wonders, "how does she do it?" He's freaking out over there. Jittery. And she just twirls her hair, listening to whatever nonsense the teacher has to say.

Robbie leans over and punches him in the arm. Charlie nearly jumps out of his chair. Robbie scrunches his eyebrows, "what was that?" Charlie just shrugs, trying to regain his cool. Robbie knows something's up...

INT. HALLWAY - A MOMENT LATER

Class is out. Jill's practically out first and she instantly heads for her locker. Charlie follows closely behind.

CHARLIE: How do you do it?

JILL: Do what?

CHARLIE: Act so innocent.

JILL: I am innocent.

Jill stops at her locker. Charlie leans on the one beside her.

CHARLIE: ... hey, so what about us?

JILL: Us?

CHARLIE: You know, with what happened.

JILL: We did the deal. Now you're off the hook. I've been ignoring you for the last week like I said I would.

CHARLIE: I don't want you to ignore me.

JILL: Pretend like we're talking about something else. (spontaneously laughs) Oh Charlie, you're so funny!

Robbie approaches and throws his arm around Charlie.

ROBBIE: Sup Jill. Nightmare on Elm Street marathon in two weeks for Freddy's departure. You're coming, right?

JILL: And miss Freddy leave? I wouldn't miss it for the apocalypse.

ROBBIE: Thata girl. But he's not leaving until February. The 13th. But this is the closest we could schedule the marathon in.

Roy now approaches. Jill's locker is becoming more crowded by the second.

ROY: Quickly, have any of you seen Esline?

ROBBIE: Nope.

ROY: Charlie?

CHARLIE: What?

ROY: Esline, have you seen her?

CHARLIE: No, I... I haven't.

ROY: Alright, I'ma get out of here before Niley sees me with you fucks.

Roy skips off as they all chuckle. Charlie remains stone faced, like he's about to puke.

ROBBIE: You're our friend too!

JILL: Niley's territorial. You should know that considering she burned a house down for you.

ROBBIE: Everyone's been saying that lately. What the fuck, how come I'm the only one who doesn't know?

JILL: Because you're selfish and don't know when someone is doing something for you.

ROBBIE: Ouch.

Kirby now approaches.

KIRBY: If I have to spend one more minute listening to that bitch, I'm going to off myself, Samurai-style. A sword in the stomach.

ROBBIE: Graphic.

KIRBY: She drives me insane and I have all this homework piled up with a project due the day after Valentine's Day. How fucked up is that? I'm gonna be working on it that whole day and it ruins my plans.

ROBBIE: That's four or five whole weeks from now.

KIRBY: I'm a procastinator. That's smack dab, end of the line, of exactly when I'll be doing the project.

CHARLIE: Is Lynn your Valentine?

KIRBY: Shut up, not funny.

JILL: Then who is?

KIRBY: Some guy on the football team. Just using him for the next 2 months so she'll get off my back.

JILL: Oh no, I think she wants you on your back, Kirby.

Olivia approaches.

OLIVIA: Jill, I need to borrow that Entire Works of Shakespeare book.

JILL: I'm not done with it.

OLIVIA: You can have it back in a week.

JILL: Okay, fine but give it RIGHT back.

OLIVIA: Your assignment for that book was finished months ago anyway, why haven't you turned it back in?

JILL: I'm reading the rest of it.

OLIVIA: Gaaaaaaaay. (shifts to Kirby) Sorry, no offense.

KIRBY: I'm not gay. I have a boyfriend now, haven't you heard?

OLIVIA: Ollie Tribiano? That closet-homo you were holding hands with earlier?

KIRBY: He is not - what? !

OLIVIA: That guy is like the go-to gay to get an annoying someone off your coat tails. I've used him like 8 times. He hasn't told you he's gay yet?

KIRBY: No, Olivia, what the fudge, man?

OLIVIA: Football team still doesn't know either. "Don't ask, don't tell" in full effect. Surely Lynn will eventually figure out you're using him and she'll be right back onto your muff. You know all about muff, don't ya Robbie?

ROBBIE: Uh, yeah. Muff lover, right here.

Olivia smiles devilishly. Jill finally hands her the book. Mr. Leeds now approaches, holding a newspaper.

MR. LEEDS: Hey kids, how you holding up?

OLIVIA: Heeeey Mr. Leeds.

MR. LEEDS: I know things might be rough with Cory and his mom still being missing and all.

KIRBY: So scary, right Jill? You used to date him, after all.

MR. LEEDS: Is that so?

Jill doesn't miss a beat. Charlie takes full notice.

JILL: Briefly, in the past.

MR. LEEDS: Well, if you ever need a place to just hang out and talk about whatever you're feeling, I'm your guy. It's not good to be out on these streets at night so it's better to hang with me. You heard about that killing the next town over, right?

KIRBY: Oh, the mayor's husband?

MR. LEEDS: Yeah, tragedy right before New Year's Eve.

ROBBIE: I'm more curious about the girl who drove out of a parking structure here in town.

MR. LEEDS: Apparent suicide. Security Guard says he saw someone but when he checked the car, nobody else was there. Security tape shows nothing as well.

JILL: Crazy.

MR. LEEDS: Stay safe, kids.

He walks off. CHELSEA STANDS BEHIND KIRBY. Leeds stops and notices she's still there. She then turns and follows him. He pretends as if he was just checking his shoe and continues walking along.

CHELSEA: I saw the way you were looking at her, Morgan.

MR. LEEDS: We can't talk in the halls, I told you.

CHELSEA: I'll talk in the fucking halls all I want, asshole. I'll SCREAM if I want to!

Ofcourse, nobody hears her. Mr. Leeds clenches his jaw and continues on.

OLIVIA: Is it just me or is Mr. Leeds kinda hot?

KIRBY: Seriously? After the whole Chelsea thing, you're gonna say that?

ROBBIE: She has no shame!

OLIVIA: I can't blame her though, that's all I'll say...

Jill smiles and waves them off as she pushes through the group. Charlie stays behind, watching her go. Robbie smacks his chest.

ROBBIE: What's up with you?

CHARLIE: Nothing.

ROBBIE: Oh I got something cool to show you!

Robbie digs in his backpack and pulls out his camcorder.

ROBBIE: Hall Pass is about to go live! All I gotta do is record the action, go home and upload the videos and bam!

Charlie's not impressed.

CHARLIE: I'm not impressed.

ROBBIE: Well what would be impressive, Charlie?

CHARLIE: If you were completely mobile. THAT would be cool. Instantly stream to the web. Lemme know when you 2.0. Get something better. Upgrade. You catch my drift.

Charlie walks off. Robbie fumes but composes himself... then puts the camera on him.

ROBBIE: This just in for a Hall Pass video first... Charlie Walker is a dickhead.

He mugs to the camera with a grin.

3.  
>CUT TO:<p>

INT. GYMNASIUM - NIGHT

TITLE CARD: 2 Weeks Later

The movie screen is propped up and the bleachers out, filled to the rafters. Freddy vs. Jason plays on the screen. The final moments of the movie. Freddy's laugh can be heard before it hits credits. It goes black. The crowd cheers. Freddy's in the stands, screaming his heart out in excitement. Happy as can be.

JUMP CUT - A MOMENT LATER

AT THE DRINK STATION, music plays as the night is coming to an end and everyone just converses with one another. Kirby and Jill grab a few sodas. Charlie approaches them from behind. He looks squarely at Jill though... and Kirby notices him not giving her the time of day.

CHARLIE: What'd you guys think?

Kirby's quick to answer.

KIRBY: It was okay.

JILL: Yeah, it was fine.

CHARLIE: Really? Just fine?

KIRBY: Only somewhat impressive compared to your other events, Charlie. I'm kinda disappointed.

Charlie finally looks at her. Jill gives him the cold shoulder.

CHARLIE: What?

KIRBY: I hope Stab-A-Thon's not this disappointing.

CHARLIE: (long beat) It won't be.

KIRBY: Impress me, Charlie. Show me how BIG you can get it.

She sips her drink, her eyes remaining on him. Jill takes notice and notices Charlie is actually a bit smitten by it.

JILL: Ha! Kirby, shut up, let's go.

KIRBY: (winks) Bye Charlie.

Jill grabs her hand and they walk off. FREDDY slices his glove pass them and they come to a stop.

FREDDY: ARGGGH!

KIRBY: Argh? Isn't that pirate?

FREDDY: Hey, I tried.

KIRBY: (to Jill) I'm gonna go talk to someone less... loserish.

Kirby walks off, leaving Freddy with Jill.

JILL: So you're leaving in 2 weeks. Pretty exciting and sad, right?

FREDDY: Yeah. I'm going to miss my children!

Jill nods along with this awkward conversation.

JILL: Maybe they'll... have an Elm Street... whereever you go?

FREDDY: Colorado!

Jill pauses for a moment. Wait, what?

JILL: You say Colorado?

FREDDY: Yes! (clinks his fingers together) Nightmares will spread!

JILL: Hey, uh... what day exactly are you going?

FREDDY: (goes to normal voice) February 13th.

JILL: You think that maybe I could... come along?

FREDDY: What? What, why would you wanna -

JILL: I have some business to take care of and I need to do it soon. I don't have a car anymore so I've been looking for a way to get there.

FREDDY: Well I can help you get there but I wouldn't be able to bring you back...

JILL: Well what if I brought someone and we stayed at your house, for maybe like a night?

FREDDY: (back to Freddy voice) Sleepover!

JILL: (smiles) Yeah, Freddy... sleepover.

FREDDY: Who else will be attending?

Jill pauses for a moment... and turns around. Charlie talks to Robbie as he shoves a camera in his face.

JILL: I can think of someone.

CUT TO:

EXT. JILL'S HOUSE - MORNING

TITLE CARD: 2 WEEKS LATER - February 13th, 2011

Charlie's car pulls up to Jill's curb. She exits and jumps in, throwing her bag in the back seat. He looks at her.

CHARLIE: I can't believe you want to help Freddy move. Of all people.

JILL: We became friends at the marathon.

CHARLIE: I'm just making sure he doesn't rape you and you end up killing him too.

Jill CHOPS him in the chest.

CHARLIE: What the fuck?

JILL: That's not funny. Drive.

4.  
>CUT TO:<p>

INT. NILEY'S ROOM - DAY

Roy's on the phone while Niley lays on the bed using her laptop. Roy paces, concerned about what he's hearing on the other end.

ROY: Esline, we barely gave this thing a shot. It was barely a month, I mean, c'mon. Don't do this, not yet. Please. (waits) What? (waits) Someone else... that's great. (waits) Yes, I'm sad, what other fucking reaction would I have? (waits) Whatever. Bye.

He throws the phone across the room and sits at the edge of the bed.

NILEY: Troubles?

ROY: Esline and I are no longer together.

NILEY: YAY! (he looks back at her) I mean, oh, that sucks.

ROY: No shit it sucks. Day before Valentine's Day! It's Desperation Day for singles and I'm a single and now I'm desperate.

NILEY: You're a guy, what do you care? OH WAIT! I KNOW THE PERFECT PERSON!

ROY: Oh yeah, who?

NILEY: Marnie.

ROY: Marnie the Carnie?

NILEY: Hey, don't call her that! That's mean!

ROY: I don't know, I was thinking of maybe asking... Jill.

NILEY: She's the enemy.

ROY: She's YOUR enemy.

NILEY: You're my friend!

ROY: I know what you want, you want me to choose a side and I'm telling you that I can't. I have to be friends with them too, Niley, c'mon. Don't be childish.

NILEY: Whatever. Ask stupid Jill than.

Roy sighs.

ROY: Okay, fine. Marnie. We'll go on a date but that doesn't mean I'll like it!

NILEY: She'll be so thrilled!

Niley jumps off the bed and runs out the door.

ROY: Where the hell are you going?

Niley runs back in.

NILEY: I forgot about the invention of phones, I'm sorry.

Niley picks up her phone and starts dialing. Roy just smiles at her quirky charm.

5.  
>INT. CHARLIE'S CAR - DAY - HOURS LATER<p>

Charlie drives along the side of a mountain as Jill sleeps. He taps her on the shoulder. She awakens and looks out the window.

CHARLIE: We're in Colorado.

JILL: Oh, good. Now I can tell you the truth of why we're out here.

EXT. MOUNTAIN SIDE STREET - A MOMENT LATER

Charlie's car comes to a SCREECHING HALT. He pulls to the side of the road and exits the car.

CHARLIE: No way! No FUCKING way!

Jill exits the car, much more calm.

JILL: Charlie, get back in the car.

CHARLIE: No. I'm not getting dragged into this again. How the FUCK could you ask me to do this? !

JILL: Because you're a good friend?

CHARLIE: I'm a good friend. That's funny. I help you bury two bodies in the woods and we have sex and now I drive you out to kill somebody else. Yeah, I'm a GREAT fucking friend.

JILL: They were supposed to be dead in the first place, if that helps.

CHARLIE: No, Jill, it doesn't help! Okay? This is fucking nuts, you're fucking crazy!

JILL: Hey, I told you about this a month ago. Did you think it would just go away? I needed a way up here to put the fucker out of his misery and you KNEW that. So don't act surprised when I say, "hey, let's go to Colorado!" Should've been a big clue!

CHARLIE: That's the thing, Jill. YOU don't want to put him out of his misery. (beat) You said you wanted Freddy to do it.

Jill rolls her eyes.

JILL: Freddy's a fucking basket case, he won't know the difference. He'll just think they're one of his "children."

CHARLIE: Okay, Freddy may not be all up there in the head but that's no excuse for you to try and convince him to kill somebody for you. Why the fuck can't you just do it, huh?

JILL: I can't.

CHARLIE: You can't? Isn't that why you killed all those people a month and a half ago? To see if you could kill someone? And then you realized you enjoyed it? !

JILL: Scenario, Charlie; I walk into the hospital, ask to see this guy, and after I leave, he's dead. Who's the main suspect?

CHARLIE: Okay, Freddy would be if what you're saying works out.

JILL: Not if I kill Freddy after.

The soundtrack thuds.

CHARLIE: You said this coma guy was it!

JILL: New plan. Either way, I'm killing one last person, per my promise.

CHARLIE: What the - it's FREDDY. You fucking crazy? He's a FRIEND. And people know we're out here helping him move.

JILL: I didn't tell anyone. I told my mom I was staying at Kirby's. You?

CHARLIE: (beat) Fuck... I told mine I was staying with Robbie.

JILL: Great! So we're in the clear!

CHARLIE: Not exactly, he has parents.

Jill just sighs. Charlie's eyes widen.

CHARLIE: You're gonna kill them too?

JILL: No. Maybe. I don't know, I didn't think about it too much. I was focused on killing "coma guy."

CHARLIE: Well none of it's happening. Get in the car, I'm taking you back home or you can stay on the side of this fucking road for all I care.

Charlie gets back in. Jill sighs and follows suit. He waits a moment, just staring on at the road.

JILL: Hey, you take your meds today?

CHARLIE: No, thanks for reminding me.

He turns his head... she already has the pills in her hand to give to him. He takes them and gulps them down real quick. As his head's tilted back - Jill grabs onto his crotch. He flinches back but she keeps a good grasp and comes closer.

CHARLIE: What are you doing?

JILL: Want me to suck it again, Charlie?

She licks his ear.

JILL: You remember how my tongue and throat feel like, don't you?

Charlie pushes her hand away and turns the ignition on the car. She reaches back and pulls at his zipper. He tries to push her off and she keeps hold.

JILL: You know you want it, Charlie. I give you one last favor. You do me one last one.

CHARLIE: Jill, stop it.

Her head falls into his lap and he's speechless.

6.  
>CUT TO:<p>

EXT. FREDDY'S HOUSE - DAY

Charlie's car pulls in front of Freddy's house. The moving van right outside. They're in the middle of the woods. The houses are practically cabins. Made from logs. Completely wooden. They exit the car and Freddy comes down the steps. He's in regular clothes. No glove, even.

FREDDY: (regular voice from now on) Hey guys, you made it! Like the new digs?

JILL: Yeah, it's nice. Very Friday the 13thish.

CHARLIE: You could say that again with what's about to happen here.

Jill shoots him a look but then turns back to Freddy with a smile.

JILL: What can we start with?

FREDDY: Uh, well I have some boxes in the van -

JILL: Actually, you know what? I need you to do one little thing for me before we start.

Charlie grabs his own head and walks away.

FREDDY: Okay, what is it?

She smiles.

CUT TO:

INT. CHARLIE'S CAR - A MOMENT LATER

The three sit in the car. Freddy's face is blank. Horrified.

JILL: You think you can do that?

Charlie bites his nails, waiting in suspense.

FREDDY: You serious?

JILL: Freddy, it's honestly why I came up here. And you've been SUCH a good friend to me over the last two weeks... I had no one else to ask. Charlie can't. Religion.

FREDDY: ... stop... (smiles) stop fuckin' with me. This is a joke?

Jill pulls out a hunter's knife and hands it to him.

JILL: Does it look like I'm joking?

"No," he's thinking... and then he smiles.

FREDDY: I always wanted to kill somebody.

The soundtrack thuds. Charlie throws his head back.

CHARLIE: Fuck.

JILL: Good. You'll enjoy it.

FREDDY: Really?

JILL: (leans forward) Better than sex.

Charlie just shakes his head disprovingly.

FREDDY: Won't they know it was me though?

JILL: No. So many doctors there. Nobody would be able to tell.

FREDDY: (smiles) You wanna do it now?

JILL: Yeah.

FREDDY: My parents went back to Woodsboro for more stuff and won't be back until morning so... this is perfect.

Jill smiles big and play slaps Charlie in the arm.

JILL: See, Charlie? It all works out!

Charlie just looks at her and sighs.

JILL: We can't drive you though. A getaway car will get you caught. Better if you drive yourself.

FREDDY: Okay. You'll wait inside?

JILL: (shrugs) Yeah.

CUT TO:

INT. FREDDY'S LIVING ROOM - A MOMENT LATER

Jill, Charlie and Freddy enter, looking around at the empty space. Freddy runs to the stairs.

FREDDY: I'll be right back!

Charlie watches until he's completely gone.

CHARLIE: This is so fucking wrong and you know it.

JILL: Charlie... he's a tard. And the other guy might as well be a vegetable. No harm done.

CHARLIE: You're sick... you're fucking sick.

JILL: Than stop me. I've given you more than enough chances.

Jill drops her bag on the couch and starts to sort through it. Freddy comes back down the stairs and notices in Jill's bag...

FREDDY: Is that a Ghostface mask?

JILL: Oh, uh... yeah. Whole costume actually.

FREDDY: You want me to wear that?

JILL: No. No, ofcourse not. That's a dead give away.

FREDDY: Right, right... can I put it on?

JILL: (smiles) Sure. Won't Krueger be mad?

FREDDY: He'll understand this once.

She hands him the costume and he walks off to the kitchen. Jill smiles as he go, like a proud parent.

CHARLIE: I'm begging you...

JILL: It has to be done.

Freddy re-enters... Ghostface mask on. They both turn and look at him.

FREDDY: How do I look?

JILL: Terrifying.

FREDDY: Charlie?

CHARLIE: (beat) Krueger suits you better, man.

Freddy takes off the mask and hands it back to Jill.

FREDDY: Maybe you're right. (takes off the costume) I'll go do that thing! I'll let you know how it goes.

Jill stuffs the costume back in. She doesn't respond to Freddy and just smiles at him instead. Charlie plops on the couch and brushes his hair back. Freddy exits. Jill climbs over Charlie and sits down on the other couch.

JILL: Stop worrying.

CHARLIE: He's gonna get caught and tell the whole plan, you know that right?

JILL: Well if we hear police sirens, we'll know to leave. He's crazy. They won't believe him.

CHARLIE: (beat) How can you do this? And feel nothing?

JILL: That's where you're wrong, Charlie. I feel everything. And that's why I like it.

CHARLIE: That's the sickest thing I've ever heard in my fucking life.

JILL: Doesn't stop you from being turned on by me, I wonder why that is? Maybe you're... turned on by it like I am too.

CHARLIE: Yeah fucking right.

JILL: Really? So fucking in front of Cory's mother's dead corpse wasn't good for you?

CHARLIE: I forgot she was there.

JILL: Nobody forgets a dead body is in a room. Even if it's decent. It pulls all the energy out. Grasps your attention. Squeezes it. (beat) Do you like Kirby?

CHARLIE: What?

JILL: You can be with her. I won't mind.

CHARLIE: No, I like you...

JILL: You like me? Wow, sounds like you waste no time to put me down every chance you get. Or is it because I popped your cherry?

CHARLIE: The stairs wasn't my first time.

JILL: Really? Then when was it?

CHARLIE: None of your business.

JILL: Awfully hostile to a girl you like, Charlie. But you're pretty nice to Kirby.

CHARLIE: Okay, you're my first.

JILL: That explains it than. You like me because I helped you out in that department... but you love Kirby. She completes you.

CHARLIE: Fuck you.

JILL: I'm down for it. You're not drained from earlier?

CHARLIE: You know what I meant.

JILL: Fine. I'll just go fuck myself than. Maybe you should've said that one.

Jill gets up and walks off to the bathroom. Charlie remains seated, a disgusted look on his face. Beat. He looks at the bathroom door, closed...

CHARLIE: (to himself) Leave right now... she's caught... I knew nothing. I was here to help a friend move. She had different motives. Call the cops immediately after leaving. That works...

JILL: Hey Charlie, it's time for another dose!

Charlie checks his watch. She's right. He pops a few pills and leans back. He looks back at the closed door. He could leave right now... if he wanted to... and he wants to... and then he doesn't. He clenches his fist... cracks his neck...

CHARLIE: (to himself) Or she can kill him... no big fucking deal...

7.  
>CUT TO:<p>

INT. OLIVIA'S ROOM - SUNSET

Trevor and Olivia fall into frame, exhausted and half naked.

OLIVIA: Oh God, that was good.

TREVOR: Yeah... listen... we can't do this anymore.

OLIVIA: Oh. Okay. No problem.

TREVOR: So you're cool with that?

OLIVIA: Yeah, totally. Can I ask why though?

TREVOR: I'm going to break up with Jenny.

OLIVIA: ... I'm confused.

TREVOR: I want Jill back.

Olivia sits up.

OLIVIA: What?

TREVOR: I know it's crazy but I keep thinking about everything and... I was most happy when I was with her. I wanna give her a real shot.

OLIVIA: Well if you think it'll make you happy again.

TREVOR: I do. And this Jenny thing is just getting pathetic.

OLIVIA: I'll miss our little rendezvous though...

TREVOR: As will I... one last round?

OLIVIA: Way ahead of you.

She throws her leg over him and straddles him as they both laugh.

8.  
>CUT TO:<p>

INT. FREDDY'S LIVING ROOM - SUNSET

Jill and Charlie are still on the couch. Jill casually reads a magazine. Charlie can't stop shaking.

JILL: Charlie, stop shaking.

CHARLIE: Shut up.

JILL: Mean.

CHARLIE: This is your fault. Bitch.

JILL: (sighs) Just how I wanted you...

Freddy's car pulls up in the drive way. Jill instantly sits up, as does Charlie. Footsteps run for the door. Freddy bursts in, a crying mess. He falls to his knees.

FREDDY: I couldn't do it. I couldn't fucking do it! I can't kill somebody!

Jill rolls her eyes and sighs. Charlie remains silent.

JILL: Freddy. What exactly did you get to do?

FREDDY: I got there and I just... I couldn't. I couldn't.

She looks at Charlie then back at Freddy. She kneels down and helps Freddy up off the floor.

JILL: Hey, look. It's gonna be okay. Okay? You don't have to do anything.

FREDDY: I'm sorry.

JILL: Don't be sorry, honey, you did the best you could.

FREDDY: Don't be mad at me, please. Please.

She clenches her jaw.

JILL: Give me the knife, Freddy.

He hands it to her.

JILL: Now Freddy... I'm the one sorry.

SHE STABS HIM IN THE GUT. He nearly falls over, his face in agonizing pain too bad to even scream. Charlie goes still. Watching. Polarized by what's occuring in front of him. He keeps his eyes on Jill.

JILL: You should've just killed him. You were gonna die anyway.

SHE SLICES INTO HIM AGAIN. Blood pours from his mouth and he tries to run away. He wobbles and Jill easily just pushes him to the floor. She stands over him, watching him and just kneel down. Charlie still can't move.

JILL: Freddy's dead. Worst fucking sequel ever.

SHE STABS HIM IN THE STOMACH. She rises back up. STAB. Back up. STAB. Charlie's ears MUTE out. The stabs disappear... and then... music. "You Are a Cinema (Skrillex Remix)" by Benny Benassi plays. [youtube. com/watch?v=LaIZ0mUJzr0]

Charlie's mouth drops a bit... his eyes tear up... then curl. He continues to watch her STAB HIM and STAB HIM over again like a mad woman. It's sickening... a twisted sight... and yet... he's completely adoring her right now.

Jill comes to a stand and looks at Charlie. Freddy withers on the ground, half passed dead. She raises the knife towards Charlie.

JILL: Your turn.

Charlie looks down at the knife... and then back up at Jill. Her eyes. Her smile. Everything right now is telling him to do it. Then he looks down at Freddy. A bloody heap on the floor. He looks back at Jill... her angelic presence in the midst of all this chaos... and he grabs the knife.

JILL: Good boy.

He slowly steps forward... and kneels down. Freddy looks up at him... utter horror.

JILL: Finish him, Charlie. In the heart.

He raises the knife... all the power in his fists making him shake uncontrollably... the rest of the house begins to shake around him... everything TUMBLING TO THE GROUND. A swear drips from his brow... the entire house is FALLING APART around him.

And he STRIKES DOWN. One good blow. And Freddy's gone. The song STOPS. The world recollects itself around Charlie, instantly. He finally breathes. Jill grins and rubs his shoulder. He pulls the knife out... amazed by what he's doing... his eyes remain on Freddy's though... Prichard's body flashes through his mind... a knife wound in his chest instead of a bullet. He drops the knife and looks back up at Jill.

JILL: You did good.

She lifts his chin and kisses him. He's weak to her... even after something like this. He stands up... drawn by her. HE GRABS HER AND PULLS HER IN, kissing her madly. He throws her onto the couch's back rest, sitting her up, and pulls down her pants quickly. She keeps her hands at his belt, pulling his pants down as well. They kiss passionately as they begin to have sex. Jill looks down at Freddy's body... and she moans louder. She pulls on his hair and pulls his head back, biting his neck. He thrusts into her harder. And then stops. He moans loudly himself and she nearly squeals. They're done. Still panting, Jill whispers in his ear...

JILL: I need you to do it for me now...

He backs away and quickly puts back on his pants. She jumps to the floor, putting on hers. Charlie's expression turns ashamed. Sickened. Worried. He runs off and up the stairs.

JILL: Ah fuck, Charlie, c'mon.

9.  
>EXT. ROOFTOP - SUNSET<p>

Charlie bursts through the door as Jill remains calm, watching him calculatedly. He paces along the spine of the roof, pulling on his hair and trying to figure out what to do next.

JILL: Charlie, just relax.

CHARLIE: I fucking killed someone!

Jill looks around, checking to see if anyone is in ear shot. She lowers her voice to lower his.

JILL: Everything is going to be fine, okay?

CHARLIE: I can't do this, Jill, I'm not like you! I can't just kill someone and think nothing of it!

JILL: You think I think nothing of it?

CHARLIE: That's exactly it! You're fucking cold... heartless. Who are you? I don't know you!

JILL: Can I trust you, Charlie?

CHARLIE: What? Ofcourse.

JILL: Because the way you're acting makes me very uneasy about all this.

CHARLIE: Honestly, I don't wanna fucking kill the guy, okay? You do it. I'm not doing that shit, not again.

JILL: You know I can't.

CHARLIE: That's bullshit, Jill! That's fucking bullshit, and you know it!

JILL: Keep your goddamn voice down, you're gonna get us caught.

CHARLIE: We're already caught. We're already fucked.

JILL: Take a minute, take a breather. Then check back in, 'k?

Charlie breathes deeply and crouches down. Jill watches him and she looks back around... nobody is in sight. He raises his head back and comes to a full stand, calmly collected.

JILL: Charlie, we're going to do this... right?

CHARLIE: You mean I'm going to do it. Fine, whatever, I'll do it!

JILL: And you won't mess this up for me? You know how important this is?

CHARLIE: Yes. Okay, I'll do it. That's what you want to hear?

Jill steps forward along the spine and comes close to him.

JILL: That's what I wanna hear, that's correct.

CHARLIE: Why are you saying it like that?

JILL: Maybe I don't believe you...

CHARLIE: Believe me, Jill... we killed Freddy... I'm over it now.

JILL: (chuckles) You're over it now? You're just suddenly cool with killing?

CHARLIE: Yeah, that's what you want, right? I don't know why you wanted Freddy to do it in the first place, we all know he's a freak but c'mon. You want something done right, you gotta do it yourself.

Something about that strikes Jill - - and hard. She nods slowly and sighs...

CHARLIE: I'm sorry, I'm freaking the fuck out. This is crazy but I'm fine. I'm just... I'm on your team, Jill... I can do this.

JILL: Good... I'm glad.

IN A SERIES OF CLOSE UPS:

He freezes.

His eyes go wide.

Her eyes remain cold.

His breath comes to a stop.

She clenches her jaw.

He lets out a breath.

And his eyes water a bit, but just slightly.

And then his head tilts down.

And notices the knife jabbed into his abdomen.

Blood drips down his front and to the roof.

He looks back up - - Shocked beyond belief.

Jill shrugs. With a smirk too.

The "nothingness" of it haunts him the most.

JILL: Don't look so surprised.

She steps forward, sliding the knife in deeper and backing him along the spine of the roof. The soundtrack tingles.

JILL: You knew this was coming.

CHARLIE: Jill...

She reaches the edge of the roof and stops...

JILL: I have to do this... it's the only way. It's like you said, Charlie... you want something done right... you gotta do it yourself.

Charlie's eyes are spread completely open, his body leaning forward but she holds him back up.

JILL: This is just my way of making sure it happens. And you were wigging the fuck out which was - - not good, for lack of better words.

CHARLIE: Why?

JILL: It's nothing personal, seriously. But don't think this is something it isn't... just... you know? I changed the rules. And I don't need you... so here's my subtle reminder.

SHE PUSHES HIM OFF THE ROOF - - HIS BODY HURLS DOWN THE SIDE OF THE HOUSE - - THUD! - - CLOSE IN ON HER FACE as she stands there at the top, the bloody knife in hand as she looks down ... satisfied.

ANGLE ON Charlie on the ground two stories below, bleeding out. His eyes looking up at Jill, utterly mortified. The soundtrack rises. And then his head drops... and his eyes close...

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**SMASH TO BLACK!**

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No worries, Charlie's still alive! You'll see how this ties in soon enough ;)

No Jenny or Marnie this episode and I'm sorry about that! They're the main focus in the next part of the episode though, other than the Jill plotline.

ALSO. My mistake: last episode I said there's 10 episodes left of the series. There's actually only 8. Well, now there's only 7 since you just read this episode. 2 more regular episodes, a pre-finale episode and the 4 part SERIES FINALE! As you can tell, it's all FUCKING NUTS FROM HERE ON OUT!

**215 reviews** for the next episode!


	24. Episode 13: Seven Devils: Part 2

Author's Note: Really quick, thanks to the few anon readers (Ghostface Killer, I love scream 4, Kirby Reed is Cool, RedMal) who have been reviewing and boosting the numbers up on the previous chapters. But now that you're caught up, when reviewing this chapter and the remaining chapters from now on, please go by the numbered format so I can get a full outlook on what you thought of the chapter/episode. It's a really helpful tool to see what you guys think of the material and how you feel about where it's headed. The more detailed you get, the better the stories can be for you. Even if you think it's just a minor thing, please mention it. And please try to refrain from simply stating what you like and dislike about the story elements (e.g. "I don't like that Jill is angry") and focus more on how things like this either improve/advance or worsen the storytelling elements (e.g. "I love the way you convey Jill's underlying anger in this scene, as it really expresses how she feels for Robbie and shows her motives, even though I personally think she doesn't need to be mad at him for what he did"). Detail like that really makes me happy and shows me you comprehend the story instead of taking it at face value. This goes for ALL the reviewers, not just the listed anon ones.

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><p><em>313 - Seven Devils: Part 2<em>

1.  
>OVER BLACK -<br>JILL (V.O.): I was dead once too.

EYES OPEN. Blurry. Confused. Dazed.

INT. HOSPITAL ROOM - MORNING  
>TITLE CARD: February 14th, 2011. Valentine's Day.<br>Jill comes into view, sitting in a chair near the bed. Charlie's eyes focus in on her. He looks around a bit.

CHARLIE: What?  
>JILL: I was dead. Like you were. They brought you back to life, ya know?<br>CHARLIE: What are you talking about? Where are we?  
>JILL: Colorado. You're in the hospital.<br>CHARLIE: Why am I...?  
>JILL: (like it's nothing) I stabbed you in the stomach and pushed you off a two story house.<p>

There's an awkward beat. She smiles. He now remembers. He goes to scream.

JILL: NO. Don't do that. You'll only get us in trouble.  
>CHARLIE: You tried to kill me.<br>JILL: No, Charlie, I tried to get you in here. (gestures to the room, as in "voila") Mission accomplished.

Charlie tries to sit up. Instant pain in the lower section.

JILL: Not yet, doc hasn't prescribed you meds. Another good reason why we're here.  
>CHARLIE: Jill... you better start fucking explaining yourself!<br>JILL: Calm down, yeesh. Where should I begin?  
>CHARLIE: I don't know, how about where you STABBED ME and threw me off a FUCKIN HOUSE!<br>JILL: I guess that would be a good jump off point. Okay! Yeah! Freddy - you remember Freddy right? Well, he didn't get the job done like I needed him to. So that means that one of us has to do it. Preferably you. And I thought, what would be the best way to get us in here without being suspicious? Oh, that's right! If we're patients! So I did a little improvising. Told them you were playing with the knife on a roof and you fell. So I brought you here. Not until I buried Freddy's body in the woods though so you DID lose a bit of blood and by a bit, I mean alot. Gave them an alias so we can't be tracked back down in Woodsboro, claimed you're emancipated so they wouldn't have to call your parents and right now, they're shuffling through records trying to find somebody named Ian Hostedler to see if that emancipation thing rings true. You'd think they'd have a better system in a hospital of all places but no. I learned that watching Grey's Anatomy. Who said TV doesn't teach you anything?  
>CHARLIE: ... you're fucking nuts.<br>JILL: And nuts I am fucking. SO, next time the doctor comes back and sees you're awake, I'm hoping he will prescribe you pain meds, which we'll need. I'll get to that in a bit. Once he does that and before they realize there is no Ian Hostedler, we're going to leave, kill "coma guy" on the way out and return to Woodsboro before Valentine's Day is over and before our parents realize we've been gone for far much longer than we should be and hopefully right in time for when the "your son or daughter was absent from periods" phone call so I can answer and hang it up claiming it's a "wrong number."  
>CHARLIE: Valentine's Day? I've been out for a whole day?<br>JILL: Just the night. It's barely morning.  
>CHARLIE: Jill, I'm not going through with your plan. I'm not killing anybody. I'm telling whoever walks through that door next and this is over.<br>JILL: (sighs) I was afraid you'd say that, Charlie. But seriously, you have to TRUST me.  
>CHARLIE: How the fuck can I trust you?<br>JILL: Because if you don't, there's a murder weapon with your prints on them linking to a dead body about 7 miles from here in the woods. You DID kill him, Charlie.  
>CHARLIE: Fuck it. I'll go to jail too. I don't care, this is over. You persuaded me into killing him.<br>JILL: No, I didn't. All I did was offer. It was you... your rage... not to mention, your sexual appetite that we share in common. It turns me on... it turns you on too. That's why you did it, Charlie. I did nothing.

Charlie ponders this for a moment. It's actually starting to make sense to him now.

JILL: You're sick in the head. I'm sick in the head. I've accepted that and you should to. We can make one helluva team. Why don't we just make the best of that situation? Use it for some good? Make something out of ourselves with it. Famous, I don't know.  
>CHARLIE: Make ourselves famous for killing people? Not gonna happen. You and I both know the people who survive get all the fame. That was Mickey's flaw in Stab 2. He'd get the trial, a bit of attention but what would he do with it on the inside of bars? The good thing about fame is wherever you go, people recognize you and once that novelty wears off in prison and you realize you're in likewise company, you begin to think "this was a stupid idea." You can't see the people who know you because you're stuck in court while the only fan you see is a camera. So not unless we survive a pending massacre will we be famous, Jill. Not unless we were Sidney and Randy. That's what Roy said anyway.<p>

Jill's head shoots up. She grins and bites her lip.

JILL: Now that's a possibility. And for the record, I wasn't biting Mickey's motive, I was meaning something entirely different.  
>CHARLIE: What's a possibiltiy?<br>JILL: We become the survivors of a massacre.  
>CHARLIE: And who's gonna kill everyone else?<br>JILL: We do.  
>CHARLIE: That won't work.<br>JILL: We set someone else up. We're the new Sidney and Randy. Instant fame. Stab remake, rebooted, whatever.  
>CHARLIE: Sidney's still alive so therefor we can't replace Sidney.<br>JILL: Not unless we kill Sidney too. She returns on the anniversary of when it happened. It's fucking perfect!

Beat.

CHARLIE: Jill, that's your cousin. And who are we going to kill, our friends? Some friendship that is. You can fucking forget it!  
>JILL: What is that? What is friendship? What does that even mean anymore? Half of my friends are assholes, Charlie and you know that. (beat) Olivia with all her torment before we were friends again, starting rumors that lead to Chelsea's death and now she's sleeping with Trevor?<br>CHARLIE: She's sleeping with Trevor?  
>JILL: And Robbie. Oh fuck, do you even realize what he did to our group with his little Solai fling? We haven't talked to Niley in half a year, let alone hardly see Roy anymore. And he's not even man enough to stick by what he did after I specifcally tried to help him.<br>CHARLIE: There's more to it than that.  
>JILL: Really, like what?<br>CHARLIE: He's gay...  
>JILL: What?<br>CHARLIE: When him and Niley broke up, I overheard them talking... Niley and him have been lying to us about the reasons behind their parting.  
>JILL: Still doesn't set aside the fact that he fucked Solai. Anal or vaginal, cheating is cheating and sex is sex. Him being gay doesn't disclude him from my hatred for him.<br>CHARLIE: Yeah, well, what about Kirby?  
>JILL: Casualty to war, Charlie. And who knows, maybe she has done something and I just don't know it yet. Always trying to comfort me every five seconds. Sounds like a person trying to make up for mistakes.<br>CHARLIE: Sounds like a friend to me.  
>JILL: You only think that because you're in love with her... and as for Sidney... I have my reasons. (beat) But you and I... (comes closer) It'll be left just us two. (grabs his hand and slides it in between her legs) And you can have this all you want... I'll make up for that void Kirby can't give you...<p>

He pulls his hand away.

CHARLIE: You can't trick me into this with sex.  
>JILL: But I can remind you of what it was like killing Freddy. And you can have that over and over again. And you can have me over and over again, too. All you want. (beat) But I won't try to convince you any further. I leave it up to you. Don't do it for me... do it for you. For us... for what we'll become when it's all over.<p>

The DOCTOR enters and sees Charlie's awake.

DOCTOR: Ian, you're awake!

Charlie eyes Jill, prepping to say something to the doctor. She waits for his response, ready to kill him the instant he says anything less than what she's expecting.

CHARLIE: (beat) Yeah. Awake.

2.  
>INT. JENNY'S LIVING ROOM - MORNING<br>Marnie bursts through the door without knocking, big smile on her face.

MARNIE: Jenny, I have the best news!

No reply. The house is quiet.

MARNIE: Jen? Jen-Jen? Where are yooou?

She searches through the house.

INT. JENNY'S KITCHEN - CONT'D  
>Marnie turns into the kitchen.<p>

MARNIE: Jenny, guess what?

She looks down - - Jenny lays on the floor. DEAD. Her throat split WIDE OPEN and in a pool of blood. Marnie screams and holds her chest, pressing herself against the cabinet.

MARNIE: Oh my God... oh my God! Jenny!

Tears stream down her face. She takes out her cell phone and kneels down, placing her hand on her chest checking for a heart beat. She begins to dial 9 - 1 - JENNY'S HAND GRABS THE PHONE.

JENNY: I always knew you were a lesbian!  
>MARNIE: HOLY FUCKING SHIT!<p>

Marnie jumps back and nearly shits herself. Jenny giggles, coming to a stand and licks the "blood" from her fingers.

JENNY: Seriously? Checking my heartbeat or copping a feel?  
>MARNIE: WHAT THE FUCK!<br>JENNY: What?  
>MARNIE: I was scared half the fuck to death! You bitch!<br>JENNY: Seriously? This ketchup looked like I had a slit throat?  
>MARNIE: It was the heat of the moment and I saw you like that and logic was shat out the window, YOU BITCH!<br>JENNY: (giggles) You're funny. So what's your good news?

Marnie's eyes are still pried open, breathing fast and trying to understand everything going on. Jenny kneels over the counter, looking at her and waiting with the calmest of innocent patience.

MARNIE: Jenny... I was scared for your life. Say "sorry."  
>JENNY: Sorry. Now what the fuck do you want?<br>MARNIE: Well today I have a date with a very special someone. Guess who.  
>JENNY: Mmmm. Joseph.<br>MARNIE: No, better than Joseph.  
>JENNY: Augh, let's see...<p>

Marnie grows tired of waiting.

MARNIE: Roy! It's Roy.  
>JENNY: (scoffs) C'mon Marnie, we know that's a pipedream. Even I couldn't land Roy when I wanted to.<br>MARNIE: Well... I DID! So there's that!  
>JENNY: I thought you liked someone at Breckin?<br>MARNIE: I did, I do, whatever but this is ROY!  
>JENNY: And that's a LIE. So seriously, who is your date tonight?<br>MARNIE: No delusion, it's Roy.  
>JENNY: Delusion. So sad.<br>MARNIE: I'm starting to wish that ketchup was real.  
>JENNY: Okay, so how did you convince Roy to go out with you?<br>MARNIE: Niley pulled a favor. Am I sensing jealousy?  
>JENNY: Ofcourse not, I have like, the best boyfriend ever.<br>MARNIE: (long beat) Jenny, you don't have a - -  
>JENNY: Stop... just...<p>

Jenny holds her head. Marnie gives her a bit of space. Jenny tries to hold back the tears... apparently something is troubling her...

JENNY: Enjoy your date with Roy.

She walks toward frame and we -

CUT TO:  
>INT. TREVOR'S ROOM - NIGHT (FLASHBACK)<br>TITLE CARD: February 13th, 2011. Yesterday.  
>Trevor holds the phone to his ear.<p>

TREVOR: It's just not going to work anymore, Jenny.

INTERCUT WITH:  
>INT. JENNY'S ROOM - SIMULTANEOUS<br>Jenny waits as if there's a buttend to a joke or something.

TREVOR: I'm sorry, I don't know what else to say.  
>JENNY: You're serious?<br>TREVOR: Like I said... I'm sorry.  
>JENNY: Wait, what? Valentine's Day is tomorrow, couldn't you at least wait? (she's so pathetic) Please?<br>TREVOR: On Valentine's Day, you should be with the person you love and I... I realized... that might be someone else.

This hits her like a dagger in the heart. She pulls the phone away from her ear and cries, hard but with no noise so he can't hear how painful this is. He waits on the other end, not sure of why she's not speaking.

TREVOR: Jenny?

She brings the phone back up and sniffles the tears back.

JENNY: Fine. I can accept that.  
>TREVOR: I'm so glad we could be mature about this.<br>JENNY: Despite the fact that this is over the phone...  
>TREVOR: I know, I'm sorry.<p>

Jenny keeps waiting for the buttend of the joke...

TREVOR: I gotta go now though... bye Jenny. We can still be friends, right?

That probably hurts her the most.

JENNY: Ofcourse. We're mature. Adults.

Her jaw quivers.

TREVOR: I love you though. I really do. Don't think I didn't.

She slowly shakes her head.

JENNY: I, uh... I love you too, Trevor.  
>TREVOR: Bye.<br>JENNY: Trev...  
>TREVOR: Yeah?<br>JENNY: Is it Jill?

Trevor waits a long beat.

TREVOR: I never wanted to hurt you, Jenny.

He hangs up. She keeps the phone to her ear... as if it's some means to connection with him, even if just for one last second. But he's gone. And she's frozen. And it all comes crashing down at once. She belts it out of her lungs, a long hearty cry.

BACK TO TREVOR IN HIS ROOM:  
>Trevor sits there for a moment... thinking of what next... he dials on his phone and waits...<p>

INTERCUT WITH:  
>INT. CHARLIE'S CAR - SIMULTANEOUS<br>Jill sits in the driver seat, parked somewhere out in the woods. She seems shaken and a bit distraught. She looks forward in the headlights at a patch of soil in the ground that's been filled with dirt. A grave...

Her phone rings. She jumps a bit and looks down. It's Trevor. She pauses for a moment... and answers.

JILL: Trevor?  
>TREVOR: Hey, Jill.<br>JILL: Why are you calling me?  
>TREVOR: I love you, Jill.<br>JILL: You what?  
>TREVOR: I made a mistake. I shouldn't have let you go.<br>JILL: (beat) What mistake?  
>TREVOR: I know you know, the whole... Jenny thing.<br>JILL: That's it? The only mistake?  
>TREVOR: Ofcourse, Jill, what else would there be?<p>

A FLASH OF OLIVIA AND TREVOR TOGETHER IN OLIVIA'S BEDROOM WHILE JILL WATCHES FROM HER WINDOW.

JILL: Nothing, I guess.  
>TREVOR: So do you forgive me?<p>

A moan comes from the backseat. Jill looks back quickly and back forward, now in a rush.

JILL: Sure.  
>TREVOR: What was that noise?<br>JILL: Nothing. Trevor, I gotta go.  
>TREVOR: Jill, just wait. Please. Just... a second.<p>

Jill is eager to hang up... but his voice keeps her hanging on like an irresistable force.

JILL: Trevor, don't...

It's almost as if she knows she can't resist him...

TREVOR: Can we... be together again?

A tear falls from her eye. It's what she wanted. She thinks. Sorta. Used to at least. Maybe not anymore. But it's poetic and insane in that way. A beautiful havoc-induced dilemma. She goes to speak... made up her mind... it's clear it's a "no." But then she waits another moment... a sly smile forming on her face...

JILL: Yes.  
>TREVOR: Oh God, that's so good to hear. I've been missing you like crazy, Jill.<br>JILL: (stares blankly forward) I've missed you too.  
>TREVOR: So uh... where are you? When can I see you again? Are you home?<p>

A gurgled cough comes from her back seat.

JILL: No, um... I won't be home until tomorrow. I'll be out of school, too but after... we can see each other... Valentine.  
>TREVOR: (smiles) Okay... see you tomorrow...<br>JILL: Bye.

Jill hangs up and throws her phone down, puts the car in 'drive' and books it out of the woods.

CUT TO:  
>INT. HOSPITAL ROOM - NOON (PRESENT)<br>Jill looks onward, obviously thinking about that phone conversation. Her mind appears blank. Charlie looks onward as well, thinking about his own mess and predicament.

CHARLIE: Jill, do you have my PTSD meds?  
>JILL: What?<br>CHARLIE: My meds?  
>JILL: Oh, yeah.<p>

She takes out a pill and hands it to him. He gulps it down.

JILL: I don't know if you're supposed to be taking that with the Vicodin.  
>CHARLIE: Pain meds don't repress bad memories. I'll take my chances.<br>JILL: So how's your stomach feeling?  
>CHARLIE: Surprisingly numb. Sort of.<br>JILL: So I can flick you?  
>CHARLIE: Go for it.<p>

She flicks his arm.

CHARLIE: Nothing.  
>JILL: Wow, that's amazing. Must be pretty strong.<br>CHARLIE: Pretty bad wound.

3.  
>CUT TO:<br>INT. WOODSBORO HIGH - HALLWAYS  
>Robbie makes his way down the hallway. As he turns the corner, he BUMPS into Nick. Nick drops all of his books, his papers fly everywhere. Robbie pauses for a moment, looking down at Nick as he kneels down to pick everything up.<p>

NICK: A "sorry" would be nice.

Robbie chokes on his words... and runs off. Nick shakes his head with a sigh and continues picking up his stuff.

IN ANOTHER HALLWAY

Kirby and OLLIE stand around, as if they're waiting. Ollie seems anxious to get out of there.

OLLIE: (whining) I wanna see my boyfriend, it's V-Day.  
>KIRBY: Ollie, quit being such a fag. She'll be here in a second!<br>OLLIE: Can't you get someone else to do this?  
>KIRBY: No, because you're an asshole and you never told me you were actually gay! So you gotta make up for lost time!<br>OLLIE: I thought you knew! I thought it was common knowledge among the female population. Which is why Lynn is never gonna buy this.  
>KIRBY: She is not a female. She's a man trapped in a girl's body... a nice girl's body.<br>OLLIE: You obviously like her, just be with her.  
>KIRBY: I admire her body, not her. Doesn't make me gay. Or bi. I'm straight. Got that? And she needs to get that too?<br>OLLIE: Sure.

Lynn turns down the hall. Kirby quickly jumps into Ollie's arms, kissing him passionately. But Lynn doesn't see... she's dropped her folder to the floor and is picking it up. Kirby looks back and Lynn is now standing back up right. Kirby quickly turns back onto Ollie's lips. A group of people crowd in front of Lynn and they herd their way down another hallway. Kirby looks back again.

KIRBY: Fuck, she's gone! Did she see?  
>OLLIE: I don't know, I was busy with your tongue in my mouth. Sick.<br>KIRBY: You liked it, just a little.  
>OLLIE: No Kirby, I like men. Even though your haircut is -<br>KIRBY: Mention the haircut and I'll slice you, got that?  
>OLLIE: Okay, calm down Dahmer.<br>KIRBY: Fuck! Be here later!  
>OLLIE: I'm not going anywhere! I'm going on a date with my boyfriend! Bitch!<p>

Ollie stomps off.

KIRBY: Why do you have to be a stereotypical gay, why can't you be a cool one? ! UGH.

Olivia comes up from behind.

OLIVIA: Told you.  
>KIRBY: Whatever. Get out of here, nobody cares about you.<p>

DOWN ANOTHER HALLWAY  
>Marnie and Jenny make their way into the school. Jenny's less normal than usual. Her appearance lacking. Soft. Distant. No make up and her hair unkempt.<p>

MARNIE: Be a bit more chipper, you look like you belong in a Tim Burton movie.  
>JENNY: I am chipper. Absolutely everything is fine.<p>

She says that with conviction. Her appearance just doesn't show it.

Marnie opens her locker and shows Jenny herself in the mirror.

MARNIE: You don't look it, honey.

Jenny realizes what she sees. She's right. Jenny backsteps and walks to the bathroom, taking out her make up bag. SHE BUMPS INTO TREVOR. Her bag drops to the floor and spills everywhere. Marnie watches like it's a dog about to be hit by a car.

JENNY: Oh, I'm so sorry.  
>TREVOR: It's okay.<br>JENNY: I was just about to, uh, put on - - make up, because I forgot to this morning and I totally was going to but I was up all night last night... on a date. Valentine's Midnight Date.  
>TREVOR: You found a date that fast?<br>JENNY: Uh... yeah. Absolutely. Reserves. A girl can't live without one.  
>TREVOR: (beat) Thanks, I guess.<br>JENNY: So you and Jill, did you guys - ?  
>TREVOR: Yeah. She said yeah. So that's good news.<br>JENNY: Oh, ofcourse! Good for you guys! Me and my new guy are great together too, I think it'll last.  
>TREVOR: Good for you, Jenny. See ya.<p>

Trevor walks off. Jenny feels victorious. Marnie knows the truth though.

MARNIE: Put on your make up. You're horrible.  
>JENNY: I totally owned that.<br>MARNIE: With lies. GO.  
>JENNY: I'm totally fine, Marnie! I'm doing GREAT! You hear that everyone? I'm GREAT!<p>

Jenny bends down and quickly picks up her things and heads in.

4.  
>CUT TO:<br>INT. KAROKE BAR - MID DAY  
>Jenny stands on the stage, microphone in hand, singing her lungs out (poorly) to "Everytime You Lie" by Demi Lovato. Niley watches from a barstool, absolutely embarassed. Behind them hangs a banner, "Singles Night."<p>

JENNY: (singing) "I knew better than to let you break my heart. This soul you'll never see again, won't be showing scars. You still love her, I can see it in your eyes. The truth is all that I can hear, everytime you lie." Put your  
>hands up everybody, clap along.<p>

The crowd mildly claps along, laughing at her more than anything.

JENNY: (singing) "I woke up the next morning with a smile on my face and a long list of gentleman happy to take your place. Less trashier, much classier than who you proved to be. How long's it gonna take before you see she's no me? I KNEW BETTER THAN TO LET YOU BREAK MY HEART!"  
>NILEY: Okay, I can't do this anymore.<p>

Niley runs towards the stage and practically tackles Jenny, trying to pry the mic from her hands. Jenny continues to sing the bridge anyway.

JENNY: "At night awaaake, I won't be sleeping til morning breaks, that's the price you paaaaay for yoooour mistaaaakes, goodbye to dreeaaaaming."

Niley shoves her knee into Jenny's gut and pulls the mic away and throws it across the room. It bounces off a waiter carrying a stack of plates' head. They all come crashing down. Niley grabs Jenny by the hand and they race out of the bar.

CUT TO:  
>INT. MINI GOLF COURSE - MID DAY<br>Marnie puts her ball into the hole as Roy stands by. Marnie jumps in victory. Roy sighs and picks up the balls from the hole.

ROY: 2 to 8.  
>MARNIE: That's good, right. What's par?<br>ROY: Par was 3.  
>MARNIE: Oh...<p>

They walk to the other hole up next. The typical windmill set. Marnie realizes Roy seems a bit peeved.

MARNIE: Are you mad?  
>ROY: No, ofcourse not. I'm having fun.<br>MARNIE: You seem mad.  
>ROY: People always say I seem mad, look mad, act mad. I'm not mad though.<p>

Roy puts his ball and it goes into the windmill house then down the other side of the hill and into the hole. Hole in one.

MARNIE: Nice.

Marnie sets up her ball and puts. It barely makes it up to the hill. Roy puts his head down in disgrace.

MARNIE: I'm much better at other things, I promise.  
>ROY: Take your time.<p>

Marnie waits to put again... she clears her throat...

MARNIE: Maybe... you should... show me how to hit it... like most guys would.  
>ROY:.. wait, you want me to show you how to put? Like get behind you and guide your arms? That typical thing?<br>MARNIE: Typical but it's a crowd pleaser, Roy!  
>ROY: (chuckles) I'm not that kind of guy. Have you seriously been losing on purpose this whole time so I would show you how to put?<p>

Marnie doesn't even speak. She puts the ball. It goes through the windmill with ease, down the other slope and into the hole. Hole in one.

ROY: So that's a yes.  
>MARNIE: C'mon Roy, we're on a date. Act like it.<br>ROY: I'm just acting natural. I don't wanna complicate it or give into cliches with this.  
>MARNIE: Girls like cliches. That's why they're cliches.<br>ROY: I'm not that kind of guy, Marnie, like I said.

Marnie seems a bit disappointed now.

MARNIE: Sorry, it's my own expectations. I shouldn't try to make you do anything -  
>ROY: No, it's my fault. I mean, how was I supposed to know that's what you wanted?<p>

Marnie half smiles and walks around the windmill to the hole. Roy sighs and follows behind.

CUT TO:  
>EXT. MARNIE'S HOUSE - A BIT LATER<br>Roy and Marnie sit in Roy's car. Marnie waits to exit.

MARNIE: Don't you wanna say something or... do something?  
>ROY: Oh! Uh, yeah! Um... it was a good Valentine's Day. I'm glad Niley set us up.<br>MARNIE:... right.

He smiles. Clueless. She smiles. Clueless.

MARNIE: Up front, we're not right for each other, are we?  
>ROY: Oh God, definitely not. No chemistry.<br>MARNIE: That seems harsh but it's true.  
>ROY: No hard feelings?<br>MARNIE: No, definitely not. It just didn't work out. I'm glad we can be adults about this.  
>ROY: Me too. I think you're cool but we're just - -<br>MARNIE: On a different page.  
>ROY: Exactly.<br>MARNIE: Okay. Well I'm gonna go inside...  
>ROY: Okay, goodnight.<p>

Marnie exits the car. She instantly comes back to the window.

MARNIE: Well just because we have no chemistry, doesn't mean you can't come inside and we can... have fun.

5.  
>CUT TO:<br>INT. KIRBY'S ROOM - SUNSET  
>Kirby sits at her desk, typing on her computer and working on her project. It's a lonely Valentine's Day. A pebble hits her window. She looks over... and walks over. She opens it and looks down. Lynn stands there...<p>

KIRBY: What are you doing here?  
>LYNN: Can I just... talk to you for a second?<p>

EXT. KIRBY'S FRONT YARD - A BEAT LATER  
>Kirby opens the front door and walks to Lynn.<p>

KIRBY: You can't be here. I'm working on a project.  
>LYNN: Why you gotta do that to me, Kirby?<br>KIRBY: Do what?  
>LYNN: Lie to me. Lie to yourself.<br>KIRBY: I'm not lying about anything.  
>LYNN: This whole Ollie thing. Everyone knows he's gay. And you're doing it to keep me away.<br>KIRBY: Yeah, so take a hint.  
>LYNN: I did... and that shows me if you put that much thought into it, it's not about trying to prove something to me, it's about you trying to prove something to yourself.<br>KIRBY: Okay?  
>LYNN: You like me. Admit it.<br>KIRBY: I'm going to be as blunt as possible... you were a drunken fling that I regret one hundred percent. I used you, Lynn. You were there when I needed you... and now you're a fucking niusance. I was drunk and I would've fucked anyone that night. Didn't matter if it was you, or a guy, or Jared from Subway. I needed someone to make someone else jealous. And you were the patsy. I'm sorry.  
>LYNN: You kissed me like you meant it.<br>KIRBY: It's called acting. Matter of fact, that's how I met Prichard. Acting in a kiss.  
>LYNN: And we know how that ended. You fell in love with him.<br>KIRBY: Don't talk to me like you know something about me.  
>LYNN: I know everything about you, Kirby.<br>KIRBY: Good for you. Now fuck off.  
>LYNN: Just give me a chance!<br>KIRBY: I don't dig girls. You fucking got it? ! How do I get that through your thick skull?  
>LYNN: I'm not leaving.<br>KIRBY: Enjoy the view than.

Kirby walks back into her house. Lynn stays behind and sits at the tree. She watches Kirby come to her window... and close the shades. Lynn puts her head down... defeated.

6.  
>CUT TO:<br>INT. MARNIE'S ROOM - SUNSET  
>Roy and Marnie drop into frame, half naked. Panting. But it's awkward...<p>

MARNIE: Okay...  
>ROY: Okay...<br>MARNIE: That wasn't a good idea either, was it?  
>ROY: No. Different rhythms.<br>MARNIE: I agree. You're too rough for my tastes.  
>ROY: Really? I thought you were too mellow.<br>MARNIE: Well I like love making and you like... fucking. Which is fine considering - -  
>ROY: That we're not in love?<br>MARNIE: Yeah. I should've done what you were doing.  
>ROY: No, no, it was me.<br>MARNIE: Seriously, it's me. I've had you in my head for months and this is just not what I was expecting... at all.  
>ROY: For months?<br>MARNIE: Oh God, this is embarassing.  
>ROY: Oh, c'mon, tell me.<br>MARNIE: More like... since I first met you. At the hotel. So years.  
>ROY: Wow. Crush at first sight?<br>MARNIE: Yeah, it was bad.  
>ROY: Well you've had other boyfriends since than, right?<br>MARNIE: No, not really. No. You were with Tess though...  
>ROY: Yeah. We did this all the time.<br>MARNIE: Yeah, I had no experience.  
>ROY: How many times have you?<br>MARNIE: (beat) Zero.  
>ROY: What?<br>MARNIE: This was kinda, sorta, is my first time?  
>ROY: Why didn't you tell me? I would've been way different.<br>MARNIE: I just really wanted you to like me!  
>ROY: (chuckles) Oh, my God. Now I feel bad that I don't.<br>MARNIE: You feel bad? I feel bad that I did it for no reason. I mean, I could've waited. There's this other guy at Breckin who likes me but... ya know.  
>ROY: (beat) I wish I could give you your V-card back.<br>MARNIE: It's okay. You can keep it. I obsessed over you long enough, you might as well have it.  
>ROY: Maybe we can... try again. In a year?<br>MARNIE: Sounds good.  
>ROY: Okay, uh... (he leans in to kiss her) Yeah?<br>MARNIE: One last try. Let's give it a go.

They kiss. It's bad.

MARNIE: Yeah, no spark.  
>ROY: I'll just get going.<br>MARNIE: Good idea.

7.  
>CUT TO:<br>INT. HOSPITAL ROOM - MID DAY  
>Jill watches Charlie in the bed. He's distant. Angry. Like he always is when he's on his meds.<p>

JILL: So what did you decide?  
>CHARLIE: About what?<br>JILL: About what I talked to you about...  
>CHARLIE: ... you're right. I enjoyed it.<br>JILL: And?  
>CHARLIE: That's all I'll say.<br>JILL: I meant about "the team" thing.  
>CHARLIE: Maybe.<br>JILL: (leans forward) Maybe?  
>CHARLIE: (long beat) If we do, we're going to do it my way.<br>JILL: (nods along) Okay.  
>CHARLIE: No mistakes.<br>JILL: You got it.  
>CHARLIE: No betrayals. No backward ass way of getting me to do things for you like right now.<br>JILL: Ofcourse. I'm sorry about that, by the way.  
>CHARLIE: We plan every inch of it out.<br>JILL: Every detail.  
>CHARLIE: And we make it out of it together.<br>JILL: The new Sidney and Randy.  
>CHARLIE: And you and me?<br>JILL: (beat) I'll do anything for you. Anything you want.

Charlie listens to her carefully to try and detect any hidden motives.

CHARLIE: So what's the plan right now?  
>JILL: I need you to kill DJ Hiraldo. And then we'll go. Back to Woodsboro.<br>CHARLIE: Okay...  
>JILL: I'll go wait in the car.<br>CHARLIE: See you there.

Jill stands up and exits the room. The music tenses. Charlie watches her leave, really thinking this moment through. "Seven Devils" by Florence + the Machine begins. (youtube. com/watch?v=hBcXe2B97TQ)

8.  
>0:00 - 0:22 (Charlie sits in the eerie silence... and slowly stands up)<br>0:23 - 0:28 (Jill turns the corner... and smiles)  
>0:29 - 0:39 (Jenny and Niley sit on her couch, taking down shots... laughing... the music is just irony to their happiness now)<br>0:40 - 0:54 (Sidney walks away from a book reading in Ohio. She smiles and returns to Rebecca who keeps her steadily along to the car for the next town...)  
>0:55 - 1:10 (Olivia lays at the bottom of the full tub... her eyes closed... she comes to the surface and continues washing herself)<br>1:11 - 1:25 (Jill sits in the car... she looks on... and pulls out a paper pad... and she begins to write. At the top she puts in bold letters... "KILL LIST.")  
>1:26 - 2:16 (Charlie walks down the hall. The doctors merely look at him as he passes. He perfectly blends in. He comes to the Coma Ward and to the door DJ Hiraldo. He sighs... and slowly opens the door.)<br>2:17 - 2:47 (Charlie looks around the room... and DJ Hiraldo... laying in the bed... hooked up to the machines... he looks at all the flowers and get well cards all over the room... he comes to the machine and unhooks him from it... he raises the hunting knife... and stands before him...)  
>2:48 - 3:21 (Charlie STABS into DJ's chest. One hard PLUNGE. He raises the knife, spurts of blood on his face now... HE STABS AGAIN INTO DJ's FACE. He pulls the knife out, like from a pumpkin and stabs him one last time in the HEART. He looks at DJ's body for one last moment... then quickly opens the window and jumps down)<br>3:22 - 3:45 (Charlie runs across the parking lot and quickly enters into the car. Jill speeds off the lot... while in DJs window, the doctors rush in and look at him in bewilderment. The sun setting into the Colorado mountains...)  
>3:46 - 3:53 (Jill and Charlie drive together... and look at each other... evil grins on both of their faces... crossing Woodsboro city limits)<br>3:54 - 4:24 (Jill rides on top of Trevor in a sexual bliss. He carresses her as they both drip sweat on to another. She has her eyes closed... she opens them... she looks down at Trevor... and raises a knife... he smiles like it's some kinky game... and SHE STABS IT INTO HIS CHEST. She begins to ride him harder as he bleeds out, pleading. She STABS HIM AGAIN and then SLICES HIS THROAT. The blood SPRAYS all over the naked top half of her body. She reaches climax as he withers on the bed with her on top of him. She falls over... and looks up at him... everything's normal. She sighs... almost as if it's dissapointing...)  
>4:25 - 4:55 (She lays next to him, they're both exhausted. She stares at the side of his face... SLOWLY ZOOM IN as her eyes grow dark... and a sinister look grows within her smile... as he has no fucking idea... what she was thinking... or of what's to come.)<p>

SMASH TO BLACK.

9.  
>OVER BLACK<p>

JILL: I was dead once too.

EXT. WOODS - NIGHT (FLASHBACK)  
>TITLE: Earlier That Day<br>Charlie's red car drives up a hill to a place that seems a bit familiar... the car stops. Exit Jill, who looks at this place with haunted memories. She shivers a bit, closes her eyes to sustain herself and goes to the trunk of the car. We can clearly see Charlie in the backseat, bleeding profusely as if the incident on the roof happened mere minutes ago.

She pops open the hood. Freddy's corpse lays in the back. She grabs at his legs, pulling him out. His back hits the leaves and she drags him on a few feet. She looks around her... she knows exactly where to put this body.

She comes to a stop, just next to a tree. She looks down at it... FLASH OF HER ESCAPING FROM BEING BURIED ALIVE. She examines her former grave...there's no hole where she escaped from. It's not even more shallow like it should be. She looks at the other spots where Patrick's victims laid... it looks identical to this one. The music rises.

A SHOVEL SLICES into the dirt. Jill works hard, trying to dig this thing up as fast as she can. The lights from the car give her visibility. She keeps digging. It's not deep enough yet. But we can tell she's not digging to dig quick enough to dig Freddy. No. She's digging to see what's at the bottom of the hole where she once laid that prom night almost a year ago. Why is the hole full? Did someone else know of Patrick's burial ground for his victims? She digs faster. Harder. Ferocious. Angry. Terrified.

Her shovel hits a bag. She pauses. Stone cold. She waits a moment, just to make sure it's not her imagination. She pushes herself to the top of the grave and grabs a lantern from the side she had set. She lights it and holds it up as she pushes the dirt off the bag with her other hand. THERE'S SOMETHING INSIDE. A human form. She begins to shake. Tears.

She sets the lantern down above the top of the bag and tries to build up the courage. She puts both hands on the middle of the bag... takes a breath... and RIPS IT OPEN. She looks down... her eyes can't believe it. Utter shock vibrates through her core. She reaches down... and pulls up... long dark brown locks are in her hand... she strokes it a bit... and then she reaches downward... a teather piece of a gown.

ZOOM IN on Jill's eyes as she looks down. We can hardly make out what she's seeing in the reflection of her eyes. Jill slowly stands up and grabs the lantern, pulling herself back out of the hole. She keeps looking down... disbelief... but acceptance at the same time. She looks over at Freddy's body and pulls him towards the hole. She looks back down within at what Freddy's about to join down there... she takes a breath... and kicks the body in.

But just as the body lands - we see it. Jill's own body at the bottom of the hole. Decomposed. Wearing what she was wearing on prom night. All those months ago. Her half remaining flesh and other half just bone mouth open in agony. Her boney hands clawing upward. Freddy's body DROPS onto it. Jill takes another moment to recollect herself... she grabs the shovel and begins to pile in the dirt and to her and Freddy's corpse.

PULL BACK AND UPWARD as she fills in her own - and her latest victims' grave.

**SMASH TO BLACK!**

A: How do you think the lyrics of "Cinema" and "Seven Devils" relate to the last 2 episodes?  
>B: What do you think the significance was with bending the realms between reality and fantasy in this episode? What were some subtle examples of it and what were some extreme versions of it and how do you think they play into the storytelling arc of the series?<p>

Only **2 episodes** left before the **SERIES FINALE!** "_Almost Famous_" and "_Bad Karma_."

Get your **Q&A questions** ready! There will be a Q&A before the series finale after the episode "Bad Karma" and I'll be answering questions after the finale as well. There will more than likely be a season retrospecive by my friend R Tech. He was even talking about doing a SERIES retrospective as well, so you guys got a bit to look forward to.

Also, you may notice there's a bit of an inconsistency in the continuity. In the last Marnie's Blog, dated January 26th, Marnie says Trevor already broke up with Jenny and got back with Jill but neither of those happen until this episode, which takes place on February 13th/14th. Her blog's date has been changed to February 13th, 2011, to match the continuity changes.

And now, something many of you have been waiting for, "Jill's Kill List." It'll update once between each episode until the finale!

**235 reviews** for episode 14, "Almost Famous."


	25. Jill's Kill List: Version 01

[Verse 1:]  
>We touch, I feel a rush<br>We clutch, it isn't much  
>But it's enough to make me wonder what's in store for us<br>It's lust, it's torturous  
>You must be a sorceress 'cause you just<br>Did the impossible  
>Gained my trust; don't play games, it'll be dangerous<br>If you fuck me over  
>'Cause if I get burnt imma show you what it's like to hurt<br>'Cause I been treated like dirt before you  
>And love is "evol"<br>Spell it backwards I'll show you

Nobody knows me, I'm cold  
>Walk down this road all alone<br>It's no one's fault but my own  
>It's the path I've chosen to go<br>Frozen as snow; I show no emotion whatsoever so  
>Don't ask me why I have no love for these motherfucking hoes<br>Bloodsucking succubuses, what the fuck is up with this?  
>I've tried in this department but I ain't had no luck with this<br>It sucks but it's exactly what I thought it would be  
>Like trying to start over<br>I got a hole in my heart, for some kind of emotional rollercoaster  
>Something I won't go on 'til you toy with my emotion, so it's over<br>It's like an explosion every time I hold you, I wasn't joking when I told you  
>"You take my breath away<br>You're a supernova...: and I'm a

I'm a space bound rocket ship and your heart's the moon  
>And I'm aiming right at you<br>Right at you  
>Two hundred fifty thousand miles on a clear night in June<br>And I'm aiming right at you  
>Right at you<br>Right at you

- Eminem, "Space Bound"

KILL LIST:  
>JENNY RANDALL (one thing is certain and if any two people belong on this list, it's the two who started it all. Jenny Randall must DIE.)<br>TREVOR SHELDON (such a sweetheart. such a darling. you'll make an even more lovable corpse though, you cheating piece of shit!)


	26. The Music of Woodsboro High by R Tech

"The Music of Woodsboro High"  
>by<br>R. Tech

Edited by Billy Bob D

I remember sitting down to read the finale of season 1 and being absolutely blown away by 2 things: how insanely action packed it was (not much plot development, but that's a complaint for another day) and the music selected for the ending scenes.

Who can forget Rufus Wainright softly sing, "nothing's gonna change my world" from a variation of the Beatles' song, "Across the Universe" as everything around our main characters was undoubtedly changing with every passing moment? A damn near tear came to my eye in those final moments as the buildings collapsed and they rised from the ashes and looked on in horror that nothing they knew from before would ever be the same: Jill started a new friendship with Olivia, Kirby lost her boyfriend, Roy became the hero and Chelsea was pregnant.

It's fitting those lyrics echoed over and over again as these are some of the most prominent reasons why the events in Scream 4 happen. Check this: Olivia continues her vicious ways but under the mask of being a friend, constantly manipulating Jill into believing that she's better than her which culminates with the fact that she not only steals Trevor from Jenny but in some odd way, from Jill also. Oh Jill, "nothing's gonna change [your] world," right?

But lately in season 3, Woodsboro High has been featuring more and more music, all of which have some underlying meaning to the action that's happening either in an ironic way or in a deep rooted, truly raw emotional way. One of my favorites is from Kanye West (never thought I'd say that) with the song "Street Lights." Jill watching Trevor kiss Jenny while (once again) the lyrics echo the very simple but effective words, "life's not fair, life's not fair."

Billy Bob D is no stranger to music though. Read Scream 5 and Scream 6 and you'll see more examples (another favorite, Niley singing "The Spider" while Ghostface is killing his latest victim, who could be described as in the song, the spider twirling in the drain meeting their demise). But something about a TV show drama, focused on teenagers nonetheless, really makes the Woodsboro High experience feel like a genuine one.

Each song seems to be CAREFULLY picked. "Monster" by Paramore not only sounds cool in many ways but BillyBobD assigned every lyric to a specific character in his ongoing story. Now that's attention to detail. And then the song plays out the end of the season 2 finale episode with Jill, obviously now a monster, grinning creepily into the mirror as a fly sits on her eyeball. But the lyrics say, "I'll stop the whole world from turning into a monster." Whoever that line was assigned to obviously fails in this mission, which makes the song's positive-tone seem a bit more ironic in retrospect, right? Actually, it's even more depressing now that we can rightfully guess this character was Marnie, who try as she might, tried to fix every problem that arised in season 2. She seems to be always caught in the crossfires between the two groups and their conflict, which she has nothing to do with. And in season 3, she gets a lot more attention than she previously did.

The latest two examples of music were brilliantly chosen. We'll start with "Cinema" by Benny Benassi and remixed by Skrillex. The choppy and chaotic tone of the song really puts us in the mind set of these deeply psychologically troubled teens, matched to romantic lyrics. The scene is Jill killing Freddy while Charlie watches. And we're hearing, "I could watch you for a lifetime, you're my favorite movie." We could say here is when Charlie falls in love not only with Jill but also with murder. To them, this is their twisted fairy tale and the song represents that fully.

And in the last episode, "Seven Devils" by the amazing Florence + The Machine brought forth a creepy and moody tone to the whole episode's final moments. Lyrically and matched to the action once again, we get a sense of where Jill's head is at and how her "sorceress" like ways are taking effect on poor Charlie Walker. Also take note in what she discovered the night before... that her body was still in that grave (something that requires an article of it's own), which echos in the lyrics of the song, "I was dead when I woke up this morning and I'll be dead before the day is done." You can't help but get a supernatural vibe is occurring that hasn't been fully explained yet. But there's only 2 episodes left until the series finale and surely, all will be revealed.

Surely, there are quite a few people who are reading these stories without the music and they're doing theirselves a great injustice. These songs are indeed PART of the story and just reading the words written out without that music is like missing out on half of the story. Why do that? You put the time into read the entire thing, you might as well get the full, intended experience. D also revealed the title of the next two episodes, "Almost Famous" and "Bad Karma." One could guess that these titles reflect the song choice of an Eminem song D was speaking of months earlier and the ending credits song to Scream 4. My guess is in the next episode, we get to see the deliberate planning of the events by Jill and Charlie, getting ever so close to their fame. And then with Bad Karma, someone's karma is finally going to come back and bite them. But who? That's the question, considering we know Trevor, Olivia and Jenny all get there's in the time frame of Scream 4, which all takes place during the four part season finale (which D keeps teasing that the events have been altered by always throwing us curveballs in the final moments of the last few episodes... so who knows WHAT will happen anymore!). "Bad karma's a bitch, dadada da dada, dadada da dadaaaaaa."

[Got any Q&A questions? Send them my way! And be sure to respond to R Tech's article!]

235 reviews for "Almost Famous!"


	27. Roy and the Events of Scream 4 by R Tech

Can Roy Alter the Events of Scream 4?  
>by<br>R Tech

Edited by Billy Bob D

How's this for an R Tech exclusive? I just got word from D himself that the finale, and these are his words, will be an "action packed thrill ride with high emotional intensity." Action can mean many things so I thought I'd dig deeper into what that meant. He specified, "by action, I mean guns. Explosions. Car chases. Fight scenes. You name it."

Wow, does this sound anything like Scream 4 at all? All season long, heck, all SERIES long, we've been teased that the events of Scream 4 won't go down the same way we've been lead to believe. This rises the biggest question, especially with recent events of Jill practically killing Charlie and her discovering her dead body in a grave, is Woodsboro High an alternate reality? That is one question D will NOT answer for me but all clues lead to that it more than likely is.

Now the question in the headline in discussion, can Roy alter the events of Scream 4? He's been prepped as this big hero ever since the finale of season 1 and we've recently been teased with a romantic angle between him and Jill. For those of us who have already read Scream 5, him being a hero is a major factor into the story but what if Scream 5 never happens? What if the point of the Woodsboro High show is to avoid the incidents and horrors that occur in Scream 4 and on? Simply, what if that's kinda just the point of this entire show? Does it lose impact or does it instantly become more meaningful?

These questions being raised are putting the readers of the finale in high anticipation. Whether or not that results in satisfaction or disappointment is another question entirely. We're still two episodes away from the FINAL episode ever and the series of events occurring have put many of us literally at the edge of our seats. What is it that D has been trying to say with his message this entire time? Something now indicates me to believe that it's more than just a mere prelude to Scream 4. Way too much has been set up. Way too much has been put at stake. Way too many angles have arisen where it seems a very epic story will occur more than just a "side events that happened that we didn't get to see." Or is this simply just making Scream 4 a much bigger story than we were lead to believe? After all, "action packed" and Scream 4 don't go hand in hand.

So here's my guess: Scream 4 will happen mostly the same UNTIL the very end just with Roy and Niley included. And then, in the final moments at Kirby's house, by having these two characters present, things will go a different route completely and the shit will hit the fan. Perhaps Charlie and Jill are exposed earlier by let's say, Roy, and there's a major struggle between them and the other characters leading to the action that D was talking about. Or maybe Roy and Niley come to save the day, stopping Jill and her plans which then leads to some sort of epic climax other than the hospital. Or what if Kirby's house happens exactly the same and then the action takes place at the hospital at the end?

I could be very wrong. Perhaps I'm way off but I'm almost certain Scream 4 won't be Scream 4 and this is an alternate reality. Things keep going off course but then return safely back to it as in an "ah ha, and you thought things would be different from here on and out," much like that "Jill kills Charlie" trick ending. Except this time, the ultimate different moment will happen in the finale and it won't be able to return back to the course of events, instead this time, become new events. Whether or not anybody new will survive is the question.

But if this IS canon with Scream 4, where's the action going to come from? Oh God, could it just get here sooner so we can all figure out? !

[Get your Q&A questions ready and send them in!]

[235 reviews for the next episode!]


	28. Jenny's Poem Book: Page 101

He loves me  
>He loves me not<p>

He loves me  
>Or he forgot<p>

He loves me  
>He loves her more<p>

He loves me  
>Or I'm not what he's looking for<p>

He loves me  
>I love him most<p>

He loves me  
>He loves a ghost<p>

He loves me  
>I'm not sure<p>

He loves me  
>So why does this hurt?<p>

He loves me  
>Or so I think<p>

He loves me  
>Or I'll sink.<p>

He loves me  
>He'll come back<p>

He loves me  
>And that's a fact.<p>

He loves me  
>You'll see.<p>

He loves me  
>But he loves her mostly.<p>

... Mostly.

Let's do **242 reviews** for the next episode.

**Do not forget** to add this story to your **story alerts**, your **favorites** and me as a **favorite author** as well as **author alerts**!

Be sure to look up "**Scream Fanfiction**" on Facebook!


	29. Episode 14: Almost Famous

**ALOT** of old characters, some not talked about since season 1, show up today. If you aren't familiar with who they are, might be a good idea to go back and read their introductory scenes in **episode 107, "New Blood."**

Review **EACH NUMBERED SECTION**. I even seperated each of them this time so you can not possibly FORGET. Not half of them or the ones you like, **ALL OF THEM!** Either that or a REALLY GOOD paragraph. PLEASE and THANK YOU. Or your review will NOT be counted toward the overall total. It's impairative, I assure you and all your feedback is **IMPORTANT** (as long as it's real feedback and not simple statements or summaries).

* * *

><p><em>314 - Almost Famous<em>

1.  
>FADE IN:<br>INT. POLICE STATION - HOLDING ROOM - NIGHT  
>TITLE CARD: April 2011<br>CHIEF DILLINGER, a late 40s classic tough brute from the south who acts as the chief of the SWAT team, hauls a handcuffed Nick into the room. Nick tries his best to be cooperative, but Dillinger manhandles him as if he's a for-sure criminal. Nick puts his head down, terrified of the situation he's in.

NICK: Don't I get a phone call, Dillinger?  
>DILLINGER: Kids who stab the sheriff's wife don't get phone calls, son.<br>NICK: I didn't stab anybody!  
>DILLINGER: (calls off) Open 7!<p>

Nick looks up to see who else is in the cell. His eyes go wide in surprise. The gate opens. Dillinger uncuffs Nick and shoves him in.

DILLINGER: You two can kill each other now, how about that?

Nick looks over... a bit cautious... and sits at the bench, looking at who he's sitting next to.  
>PAN OVER - ROY. The music tingles. Dillinger chuckles looking at the two teens. He takes a seat across from them.<p>

DILLINGER: I ain't lettin' either of you out of my sight. You're caught. (beat) Look at you two. Totally incapable of killing a human being. But that's why you did it, didn't you?  
>NICK: I didn't do anything -<br>DILLING: SHUT - UP. I know your kind. Little sissy boys who's had enough. Try to copycat some other bunch of sissies from the nineties. Kill your friends: those two poor girls... sickest damn thing I ever saw. That hot piece of ass, Morris girl. The publicist. And now the sheriff's wife? Tell me... what goes through your mind when you're doin' that?  
>NICK: I'd tell you if I knew.<br>DILLINGER: (chuckles) Boy, I've been down this road before. Multiple times. Hell, the man who - killed my wife told me the same exact thing. Looked me square in the eye and said, "I did not touch a hair on her head." Pleaded innocence for months... and when he committed suicide in his prison cell, he finally admitted it in the note. Didn't even tell me to my face like a COWARD!

His face turns sickened, almost sad but he can't show it.

DILLINGER: If I only got there sooner. If only I made it home in time. She'd still be alive... and he would've been caught redhanded. But I stayed at work... planned out a tactical offense on a meth lab for the next week... if only I put love first... instead of my job... she'd still be here. But then... there's sick fucks like you who take people like my wife away. Who kill innocents. Have you no shame? But boys, I tell you what... I should let that mob of people out there come in here and tear you to shreds. Y'all ain't worth the paycheck to me... I'm damn near close to retirement anyway. It'd be worth it to watch you sick fucks suffer.

Roy finally looks up.

ROY: I can't speak for Nick but I've been here all damn day listening to your shit so if you would kindly shut the fuck up, that'd be very nice right about now.  
>DILLINGER: (chuckles) Oh... oh, oh, oh, that's good. That's good. The more I think about it, the better it sounds like a good idea. Just gotta open a back door... ring the dinner bell... and they'll come running... all I gotta do is say they broke in... and that mob, that - - "Ghostface Hunt" as they call it... they'll show you boys no mercy. And not another person... could be hurt again in this town.<p>

His radio clicks. He leans back against the wall and answers it.

DILLINGER: Come in.  
>RADIO: Hoss and Perkins were found dead near the Roberts residence. Kate Roberts too. Jill Roberts is missing.<p>

The soundtrack thuds.

DILLINGER: When the hell did this happen?  
>RADIO: Hicks called it in just a moment ago.<p>

Dillinger looks at the two boys in front of him more suspiciously now. He clicks the radio off...

DILLINGER: How the hell...

Dillinger knows Roy's been telling the truth. Hell, he's been with Nick for awhile too...

DILLINGER: Who else is involved? Who's the third?  
>ROY: Do you really think one person could've caused all that much damage? Two cops and taking a teenage girl? It's clearly two other people that AREN'T us.<p>

Dillinger clenches his jaw. The radio clicks again.

DILLINGER: WHAT?  
>RADIO: We need you to escort the two suspects in custody to another location. Sheriff doesn't want the situation there to escalate any further. Panama says he'll take care of them.<br>DILLINGER: You tell Panama ain't no such thing is happening! These boys are MINE!  
>RADIO: It's not our call, Dillinger. Get them off site now before that mob starts to tie up the nooses. We have another suspect to look for.<p>

He clicks the radio off again. He stares at the two boys in front of them... intimidating as all hell.

DILLINGER: Get up... we're going for a ride.

and SMASH TO BLACK!

* * *

><p>MAIN TITLES:<br>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)  
>and<br>AMC CHANNEL present (a dark, bloody basement)

Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -

(white lettering PUNCHES through)

SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

* * *

><p>2.<br>"Dark Fantasy" by Kanye West plays [youtube. com/watch?v=mGW72FeetvA]  
>OVER DARK.<br>The intro continues.  
>And at (0:23) the screen BURSTS TO LIFE.<p>

EXT. WOODSBORO HIGH - MORNING  
>Woodsboro High. In the Spring Time. Everyone appears so happy. So care free. Bright colors. Warm faces. Hugs. Handshakes. Butterflies carry on by. Flowers are blooming. And in the midst of it all... is Jill and Trevor. Hand in hand. Smiles on their faces.<p>

TITLE CARD: March 2011.

CUT TO:  
>INT. WOODSBORO HIGH - HALLWAYS - MORNING<br>"Dark Fantasy" fades out at (1:07). "Love Will Tear Us Apart" by Joy Division now kicks in. The happy couple continue their way into the school. SLOW MOTION. Jill makes her way to her locker. Trevor slides off, kissing her hand as he goes. She smiles coyly as Olivia watches disprovingly as she opens her locker.

OLIVIA: Gross.  
>JILL: Jealous?<br>OLIVIA: If I'm ever in a relationship, kill me.  
>JILL: I'm sure you'll be dead much sooner than that.<br>OLIVIA: Hopefully. I mean, look at them.

Olivia gestures to Topher and Solai, making out and practically having sex against the wall.

OLIVIA: Porno-much?  
>JILL: I agree, it is displeasing to see. Especially since it's that SLUT. HEY, YOU!<p>

Solai unlocks lips from Topher.

SOLAI: Sorry. C'mon Topher.

She grabs his hand and they skip off.

OLIVIA: What are you, the hall police?  
>JILL: Just doing my daily duty service.<p>

CUT TO:  
>INT. CHARLIE'S ROOM - LATER THAT NIGHT<br>Charlie and Jill sit on the bed. Stab 4's ending plays on the TV. Notepads in their hands. The movie goes to credits. Charlie nods, smiling.

CHARLIE: What an amazing twist.  
>JILL: (beat) It's horrible.<br>CHARLIE: Why?  
>JILL: Because he was dead. Total cheat to the audience to have him come back as the killer.<p>

Jill crosses the room to the TV and to take out the DVD.

CHARLIE: But it totally makes sense. It's what I would do if I was the horror nerd. Fake my death so I can go by unscathed while the others, unforunately, stay stuck in slasher-movie realm.  
>JILL: You ARE the horror nerd. So why does he come back as the killer?<br>CHARLIE:... I guess they didn't think that one all the way through.

She closes the DVD case shut.

JILL: Plus it's not what happened in real life. That's why these Stab movies lost their spark; they began to resort to ridiculous, cliche horror movie conventions instead of staying true to it's roots. No thanks to my cousin, ofcourse.  
>CHARLIE: You're so hot when you're in movie analyzation mode.<br>JILL: (blushes) Charlie.  
>CHARLIE: Ya know, if you despise the sequels so much, maybe we should make our own Stab film.<p>

She freezes. Charlie notices she can't even move. It's of utter excitement flowing through her veins.

JILL: That's the best idea I've ever heard.  
>CHARLIE: We would need a budget though. Permission from the studio, ofcourse.<br>JILL: No, Charlie... don't you get it? We use real life. WE film the murders WE'RE going to do. No budget necessary. All real victims. All real blood and gore effects.

The very thought of it gets her hot. He grins... She crosses back over to the bed and climbs on top of him.

CHARLIE: My Sidney. And I'm your Randy.  
>JILL: Oh yeah, baby.<br>CHARLIE: Oh yeah.

They kiss... Jill quickly pulls away like a tease - - Charlie's totally into it though. She exits the room and her smile instantly fades as she turns the corner.

JILL: You just forget one thing, Charlie. Randy dies. And stays dead.

* * *

><p>3.<br>CUT TO:  
>INT. NILEY'S ROOM - NIGHT<br>Niley twirls in the computer chair as Roy lays in the bed, throwing a ball at the ceiling (total deja vu of this happening a few episodes ago with Robbie).

NILEY: So did you and Marnie try to go on another date?  
>ROY: I told you Niley, we're not gonna go out again. Not for at least another year.<br>NILEY: Maybe the mood was off.  
>ROY: The mood was off on Valentine's Day?<br>NILEY: Well it was a month ago now and you're two different people then what you were.  
>ROY: People don't change that much in a month.<br>NILEY: Have you heard from Tess?  
>ROY: Complete radio silence.<br>NILEY: And Esline?  
>ROY: Still with the guy she left me for.<br>NILEY: Whatever happened with you and Jill? You said you guys had a connection that one night. Ever follow up with that?  
>ROY: Nope. We haven't really talked since and you know as well as I do that she's back with stupid ass Trevor.<br>NILEY: You can always go out with Jenny.  
>ROY: That girl is a heap of problems all of her own right now. I really don't wanna rebound. Anyway, I'm tired of sitting here talking about me. What's going on with you?<br>NILEY: All quiet on the western front.  
>ROY: Heard from Robbie lately?<br>NILEY: We don't talk, you know that.  
>ROY: Figures.<br>NILEY: (beat) He cheated, end of story. It doesn't matter how I felt about him or how I still feel...  
>ROY: Ever think of cutting the guy some slack?<br>NILEY: It's not gonna happen, Roy! Never - again!  
>ROY: I'm just sayin'. And never say never. He might be thinking of you right now for all you know...<br>NILEY: (beat) Then I guess that would make the two of us...

CUT TO:  
>INT. ROBBIE'S ROOM - NIGHT<br>Robbie stares out the window. His next door neighbor's house is now fully rebuilt.

ROBBIE: She burnt down a house for me...

Olivia lays on the bed, reading a magazine.

OLIVIA: But you like it in the ass, so there goes that.  
>ROBBIE: Actually, I like to be the pitcher.<br>OLIVIA: (closes her ears) Oh Jesus, I was kidding. No details, please.

Robbie chuckles and continues to look on at the new house.

ROBBIE: Sometimes I feel like I'm a stranger in my own house. A year ago, she burned down this house for me and today, here I am... completely unrecognizable of who I used to be. It was rebuilt and... I'm a new person... almost metaphorical... I just wish I could love her back, ya know? Instead of... thinking about her... I think about Nick... (smirks) poor guy... I wish he knew the truth... I wish I could tell him... and I wish I could tell Niley that... she meant something to me. She helped me in a lot of ways... she wasn't just... a stepping stone... it was real for a moment. Right? There was a time... I'm sure I felt something... didn't I? What do you think?

He turns around. Olivia still has her fingers in her ears as she reads the magazine. He sighs and leans on the window. Looking at Olivia block him out.

ROBBIE: I come to a revelation... and nobody is here to witness it... story of my life.  
>OLIVIA: (looks up) You done talking about fucking boys?<br>ROBBIE: (beat) No. And then I cup their balls and stroke the shaft -  
>OLIVIA: LALALALALALALA.<p>

There's a knock at the door. He quickly answers. There stands Mayra and Leo.

ROBBIE: Guys, come in!

They enter and look around the room.

OLIVIA: I'll get out of your nerds' hair.  
>LEO: Robbie, want me to set up at the computer table?<br>ROBBIE: Yeah, that works.  
>MAYRA: Do you have an outlet near by?<br>ROBBIE: Yeah, one second. I'm gonna walk Olivia out.

Olivia stands up, holstering her back up.

OLIVIA: I don't need protection, Robbie, I think I'll make it to my car just fine.  
>ROBBIE: Ha, well uh... (looks at Leo and Mayra... then says loud enough to hear) I just wanna protect you and look out for your best interests, you sexy thang.<p>

Olivia stops at the door frame with her eyes straight. She then realizes he's putting up a cover.

OLIVIA: You're an idiot.

He closes the door and sits back with his two fellow film nerds.

ROBBIE: God, she is so hot.  
>LEO: Oh yeah. Hit that?<br>ROBBIE: Not yet.  
>MAYRA: Guys, c'mon, not when I'm here.<br>ROBBIE: Sorry. So do you think this'll actually work?  
>LEO: We're the smartest people at Woodsboro. If anyone can make a roaming camera work stream live o your internet, it's us.<br>ROBBIE: How long do you think it'll take?  
>MAYRA: About a month.<br>ROBBIE: A month? ! You know how much drama I'll be missing from taking out the camera and then turning on the camera and pressing record on the camera then aiming the camera. I need the thing on my head!  
>MAYRA: It'll go by in no time. Besides, nobody checks Hall Pass.<br>ROBBIE: Oh contrare. Look how many hits it has today.

Robbie presses enter on his keyboard. His website pops up. 5 hits.

ROBBIE: Nevermind that, the counter's broken.

He quickly turns the monitor off.

* * *

><p>4.<br>CUT TO:  
>INT. JENNY'S ROOM - EARLY MORNING<br>Jenny lays motionless on the bed. Not even blinking - staring at the ceiling. KNOCK KNOCK KNOCK. She doesn't even move. We can hear the downstairs door open... then thudding footsteps to the door... and then to her door... KNOCK KNOCK KNOCK.

NILEY (O.S.): Jenny, are you ready?  
>JENNY: I'm dead.<br>NILEY(O.S.): Oh okay, when will you be alive?  
>JENNY: Never.<br>NILEY (O.S.): (whispers) She's not coming out.

Jenny's head sits up.

JENNY: Who you talking to?  
>MARNIE (O.S.): It's me.<br>JENNY: Oh. Both of you, go away.  
>NILEY (O.S.): C'mon Jen, it's time for our morning jog.<br>JENNY: I wanna get fat and die.  
>NILEY (O.S.): I'm going to break down this door if you don't come out right now...<br>JENNY: Niley, I just want to lay here all day and - -

THE DOOR SMASHES DOWN.

NILEY: Get up, bitch.  
>JENNY: Niley, please.<br>MARNIE: Let me handle this.

Niley steps aways as Marnie enters. She sits bedside, taking a more motherly tone with her.

MARNIE: Hi.  
>JENNY: Hi.<br>MARNIE: What's wrong?  
>JENNY: Everything.<br>MARNIE: Trevor wasn't everything. He was one boy.  
>JENNY: But I loved him.<br>MARNIE: You'll find it again. I believe in you.  
>JENNY: What if I don't?<br>MARNIE: Then you and I will be very happy together.  
>JENNY: (smiles) You wanna have my babies?<br>MARNIE: We'll have tons. And they'll have an Aunt Niley to watch over them too.

Niley pokes her head in. She shakes it disprovingly then slips back out.

MARNIE: You don't need a guy, Jenny. Definitely not one to be happy. Not one to be your everything. You have me. Isn't that enough?  
>JENNY: You're leaving.<br>MARNIE: But I'll still be here... all the time.  
>JENNY: You promise?<br>MARNIE: Yeah...  
>JENNY: Okay... I guess I'll get up.<br>MARNIE: You don't have to. Actually, sit today out. Tomorrow, come back rejuvinated and... completely new. Start fresh.  
>JENNY: That's a good idea.<br>MARNIE: Watch all the sappy romance movies and cry it all out. Maybe masterbate two or three times and then tomorrow - -  
>JENNY: (chuckles) You're gross.<br>MARNIE: Sh. And then tomorrow... you can show Trevor that you really ARE over him instead of pretending. Okay?  
>JENNY: Thank you. But do you really have to go back to Breckin?<br>MARNIE: (beat) Jenny, you don't realize how good you have it, do you? Boys like you. You have friends. Or at least you did but you can very easily make new ones. Me? At Woodsboro High? I can't do any of those things. Every relationship I've attempted has failed. Every friend I tried to make never stayed. I have you and that is good enough but - -  
>JENNY: But you want the whole package? So you can be happier?<br>MARNIE: Exactly. And that's what I want for you. I'm holding you back.  
>JENNY: No you're not.<br>MARNIE: Yes, I am.  
>JENNY: You're helping me.<br>MARNIE: No... you and Niley will be better without me... until June and then you graduate and she's up shit's creek by herself but - -  
>NILEY (O.S.): HEY!<p>

They both chuckle.

MARNIE: When high school is over... and college comes... we can team up again. No stinkin' boys allowed.  
>JENNY: Sounds like a plan... but who's gonna fix my door?<p>

Marnie's eyes go wide. She checks her watch.

MARNIE: Oh, uh... look at that. We're running late. See ya!

Marnie jumps off, grabbing Niley as they rush down the stairs.

JENNY: Jerks.

* * *

><p>5.<br>CUT TO:  
>EXT. WOODSBORO HIGH - QUAD - LUNCH<br>Jill sits in between Trevor's legs. Charlie walks up with his lunch trey... peeved by the sight of the two together but going along with it for now. Robbie joins them as well. Trevor gets a text on his phone. He drops it, sliding down Jill's front. Jill quickly picks it up but her eyes linger on it... it's a nude photo of Jenny. Trevor tries to quickly grasp it away but Jill's already spotted it... and now she has to make up a pretend jealous response. She sighs at the thought of it but goes instantly into acting mode.

JILL: What is this?  
>TREVOR: Look, Jill, that's old - -<br>JILL: You should've got rid of this already!  
>TREVOR: I'll delete it right now.<br>JILL: No, Trevor, this - this - she's nude! Why do you have this? Is that how you wished I would look?

Robbie instantly throws his trey down, food flying everywhere and reaches for his backpack for his camera.

ROBBIE: Oh, this is good!  
>TREVOR: Baby, I promise, I forgot it was even on there.<br>JILL: No, Trevor... it's clear you've never changed. We're done.

She throws him the phone and runs off.

TREVOR: Baby, c'mon!  
>CHARLIE: I'll go talk to her.<br>TREVOR: Put some sense into her, will ya?

Charlie follows after Jill. She pretendingly walks off heated. Robbie's still shuffling around for his camera.

ROBBIE: Ask if I can get an exclusive for my website!

Charlie comes up behind her.

CHARLIE: What are you doing? We need our Billy.  
>JILL: He can still be the Billy, it doesn't have to be exact.<br>CHARLIE: That's what a remake is for!  
>JILL: New decade, new rules. For me to act anything less would be suspicious, he knows that.<br>CHARLIE: What if he doesn't stick around?  
>JILL: He will. As long as I reject him, he can't resist. Boy 101.<p>

Charlie stops and lets her continue on. He nods... smart.

CUT TO:  
>INT. WOODSBORO HIGH - HALLWAYS - AFTER SCHOOL<br>Olivia's at her locker. HAROLD MUROY, a frizzy haired goofball and a quirky sensibility tries tickling Olivia as she's getting her books out.

OLIVIA: Harold, stop it!

Kirby comes over.

KIRBY: What are you two chuckleheads doing?  
>HAROLD: Hey Kirby, your skin looks smooth.<p>

Her eyes shift. Totally random.

KIRBY: (smiles bitch-like) Neutrogena. (to Olivia) You ready for Cinema Club?  
>OLIVIA: Uh... (quickly looks at Harold and then back at Kirby) I think I'm gonna skip that today.<br>KIRBY: What, why?  
>OLIVIA: (she nods in Harold's direction) You know.<p>

Kirby smiles at Harold fakely and grabs Olivia by the arm, pulling her further away.

KIRBY: Seriously?  
>OLIVIA: What?<br>KIRBY: You barely know this guy. I mean he's funny but - -  
>OLIVIA: Mama needs to get laid.<br>KIRBY: Mama needs to invest in double A batteries.  
>OLIVIA: Oh c'mon, just this once and I'll switch back to manual.<br>KIRBY: (chuckles) Olivia, no. C'mon.

She frowns and turns back to Harold.

OLIVIA: I'll see you later, Harold. I'm sorry.  
>HAROLD: That's okay. See you later, best friend!<p>

He jogs off. Olivia scrunches her eyebrows...

KIRBY: Best friend?  
>OLIVIA: Did I just get friend zoned by a boy?<p>

Kirby links arms with Olivia and they make their way down the hall. Joseph now joins with them.

JOSEPH: Off to CC?  
>KIRBY: I need my daily fill of unnecssary cinematic culture.<br>OLIVIA: Joseph, fuck off. I told you not to talk to my friends.  
>JOSEPH: She's my friend too.<br>OLIVIA: Hardly.  
>KIRBY: Olivia, be nice.<p>

They reach the room. Jill's at the door, a beyond pissed look on her face. They instantly know something's wrong. They don't even ask.

JILL: We broke up again.  
>OLIVIA: I'm not surprised.<br>KIRBY: Doesn't look like he's done though.

Jill turns around. Trevor's coming down the hall toward her, eager for her to come to him. She rolls her eyes and quickly enters the room.

TREVOR: (sighs) Shit, c'mon, give me a break.

* * *

><p>6.<br>INT. CINEMA CLUB - CONT'D  
>The girls &amp; Joseph enter and quickly take their seats. Trevor then enters and looks around... there's a spot next to Olivia but she quickly gives him a look, as in "don't even think about it." He then takes a spot in the back. Charlie and Robbie enter and present in front of the room.<p>

CHARLIE: Okay guys, today we're going to be discussing Stab-A-Thon. It's coming up real soon, I wanna make sure everyone knows what day it is.  
>ROBBIE: It's Friday of Memorial Week. A day after an anniversary of the deaths but you know, Friday works better and we're hoping we can use Jill to reel in Sidney for an appearance!<br>JILL: Subtle, Robbie.  
>ROBBIE: Oh... shit, I didn't even know you were. You usually aren't. (eyes shift awkward) Sorry. (looks around the room) Room is a bit more crowded than usual now that I notice...<br>CHARLIE: Time and place is soon to be announced, but do not miss out.

LOUIS HOBBS enters the room.

CHARLIE: Louis? What are you doing here?  
>LOUIS: Stab-A-Thon is in a month. I wanna make sure I get my invite.<br>ROBBIE: That explains the new attendance from everybody. And here I was, thinking you all cared.

Louis takes a seat with the rest of them, directly next to Olivia. She scoffs at his presence as he nods to her. Joseph scowls as he watches him try to get close to her...

LOUIS: Haven't been here in about 2 years. Glad to see Prichard's gone though, that's why I left in the first place. Never heard of 28 Days Later. Best movie ever.  
>CHARLIE: He's dead.<br>LOUIS: (awkward beat) Holy shit, really? What else I miss?  
>ROBBIE: I'd let you borrow the other seasons on DVDs but, oh wait, this is REAL LIFE. So you'll have to naturally ask around.<p>

Charlie and Robbie quickly turn around.

ROBBIE: So do we let him stay?  
>CHARLIE: Eh, he's harmless.<p>

They turn back around. Will sits right up front with his hand raised.

CHARLIE: Mr. Scanton, question?  
>WILL: I have a suggestion for Stab-A-Thon this year.<br>CHARLIE: Okay?  
>WILL: One word... COSTUMES.<p>

Charlie begins to shake his head disprovingly... but the crowd cheers.

CHARLIE: You guys like that idea?  
>CHANTELLE: It's not every day I get to be a blonde bimbo hallowed out with a noose around my neck.<br>ESLINE: Oh, I wanna be Gale! I called it!

Boris stands up, the proud Russian he is.

BORIS: I will be your Dewey.  
>ESLINE: Ew, I don't want you to be my Dewey.<p>

He sits back down, hurt. The entire room laughs.

CHARLIE: Well no worries, not one person will be a character. We can all pick different things.  
>JILL: (smirks) Who are you gonna be, Charlie?<p>

He smiles back at her but not too noticably.

CHARLIE: Myself. Best Stab character of all.  
>LOUIS: I bet Jill's gonna be Roman! Keep it in the family!<br>JILL: I can't even go, you prick.  
>OLIVIA: Besides, why would she be Roman when she could be Sidney?<br>JILL: (teases... but means it) Because I'm afraid you've already claimed that costume, remember?  
>OLIVIA: (shifts back) I thought we could be laugh about it now.<p>

Charlie sighs as they continue to bicker over costumes.

INT. WOODSBORO HIGH - HALLWAYS - A MOMENT LATER  
>Roy exits from Cinema Club first, quickly to avoid interaction with anyone. He appears down, but we can't be too sure of why these days. Jill shyly catches up with him and turns him around.<p>

JILL: Roy!  
>ROY: (smiles politely) Hi.<br>JILL: You didn't say anything at all in there, something wrong?  
>ROY: No, I'm fine. You should get to your boyfriend.<p>

As he says this, Trevor is exiting from the room with his head spinning in every direction looking for Jill over the heads of the students. Jill quickly ducks Roy back around the corner before they can be seen.

ROY: What are you doing?  
>JILL: We broke up.<br>ROY: Jesus Christ, again?  
>JILL: (embarrassed) Yeah but... I'm okay with it.<br>ROY: (beat) Good for you.

Roy goes to leave but she keeps him back.

JILL: Hey, just talk to me for a second, c'mon. We haven't talked to each other since - -  
>ROY: You flipped out, kicked me out of your house and kinda have been avoiding me since?<br>JILL: Well I didn't wanna push any boundaries. Niley basically has territory of you.  
>ROY: Don't use that as excuse.<br>JILL: I'm sorry, can we just... stop for a second? Be friendly with each other? I wanna talk to that guy I was talking to on the swings that night. I liked that guy.  
>ROY: Liked in what way?<p>

Jill hesitates to answer.

JILL: (blushes) Roy.  
>ROY: Sorry, that was stupid, I shouldn't - -<p>

He tries to leave. She pulls him back again.

JILL: I like you. I like-like you.

He's a bit stunned she admitted that.

ROY: Really?  
>JILL: (shrugs) Yeah, I... I do. (long awkward beat) Look, I know you had a thing for Kirby before but... that was never set in stone, plus she likes Charlie now so I don't think she would mind if you and I - -<br>ROY: She likes Charlie?  
>JILL: I think, I don't know. They're always so goofy together these days. But who cares... you and I, that's what I'm talking about here. Us. God, this is so forward. I'm an idiot, aren't I? I'll stop talking.<br>ROY: No - -  
>JILL: I'll just go. I've made a fool of myself.<br>ROY: Jill - -  
>JILL: So I'll see you later or something.<p>

He pulls her in - - and kisses her. Kirby rounds the corner WITH TREVOR.

KIRBY: Trevor, dude, I'm not gonna help you find her - -

They both freeze at the sight of them two kissing. They both pull away from each other.

KIRBY: OH SHIT!

Trevor stares at them both, ready to kill Roy.

TREVOR: We're over for two seconds and you're with this guy? !  
>ROY: My name's Roy, we've met a few times. "This guy" is merely what I am.<br>TREVOR: I'm gonna beat your fucking face in!  
>ROY: Odd choice of words.<p>

Trevor lunges toward Roy, his fist ready to strike. Kirby pulls him back but he shoves her down. Charlie notices the altercation and quickly runs forward coming to Kirby's aid. Jill, in the midst of all this havoc, notices Charlie's quick timing.

KIRBY: Charlie, stop them!

Robbie casually walks over and sees the mild fight. His eyes widen in glee.

ROBBIE: (runs off) Don't fight yet, lemme get my camera!

Charlie grabs at Trevor's waist and nearly throws him across the room. Trevor comes to a stance, fuming.

TREVOR: You wanna be with him over me? !

Charlie realizes what's going on now that Roy's standing next to Jill...

JILL: Trevor, we're OVER.

Kirby stands back up and clings onto Charlie... Charlie and Jill share a glance as they're both with other people... Trevor looks around, realizing he may be over reacting.

TREVOR: (sighs) I'm sorry.

Olivia now approaches. She grabs Trevor, in a friendly manner.

OLIVIA: C'mon, you need some air.

The intensity still lingers in the air. Kirby lets go of Charlie and walks away... Roy walks away from Jill in the opposite direction... leaving alone now just Charlie and Jill.

CHARLIE: What was that?  
>JILL: What was THAT with her?<p>

Robbie runs at full speed and slides into the hallway with his camera now pointed.

ROBBIE: Okay, I'm back! What happened? ! Did I miss it already? Dammit!

* * *

><p>7.<br>CUT TO:  
>INT. CHARLIE'S ROOM - NIGHT<br>Charlie opens his door. Jill enters, casually. He's fuming but doesn't want to say anything yet.

JILL: Which one are we on now? Part 5?  
>CHARLIE: You know which one we're on.<p>

He moves to the TV, putting in the DVD.

JILL: Is something wrong?  
>CHARLIE: Do I even have to say it? (beat) Roy? What the fuck was that?<br>JILL: Like I said, what was that with you and Kirby?  
>CHARLIE: I was helping her up.<br>JILL: Right. Look, Charlie, we're not exclusive. You don't have to lie to me. We can be together when this is all done but right now, we have to think of this as business to make sure this goes through properly.  
>CHARLIE:... do you like him?<p>

Jill answers a bit TOO quickly.

JILL: No.  
>CHARLIE: Then why were you kissing him?<p>

Jill takes a beat... thinking of something clever to say.

JILL: Sidney needs a Derek, doesn't she? That is... if there's sequel. Windsor wouldn't be complete without it.

Charlie nods, understandingly.

CHARLIE: That's all it is?  
>JILL: Yeah, Charlie... that's all it is.<br>CHARLIE: So he's not part of our remake?  
>JILL: (chuckles) He's not even part of our friend group. He doesn't fit into the equation. I'll keep him a bit more distant for now until college if it makes you feel more comfortable.<br>CHARLIE:... I love you.

Jill's eyes widen. Charlie shakes his head.

CHARLIE: Sorry, I didn't mean to say that.  
>JILL: It's okay... I... love you too.<p>

He smiles, satisfied. He puts his focus back onto his TV. Her attitude while he's not looking. He turns back and she smiles again, chipper.

JUMP CUT TO:  
>Charlie and Jill sit in the bed now, the movie long over. They have a piece of paper in front of them, planning their attack.<p>

JILL: We start with Jenny, end with Sidney.  
>CHARLIE: We can't just start with Jenny, we need two people to duplicate the opening of the first.<br>JILL: Then we'll kill two people.  
>CHARLIE: But who? Preferably a couple?<br>JILL: ... Charlie, I want to start this with Jenny, okay?  
>CHARLIE: Okay, geez. "You fucked Trevor" revenge plot in full force I see.<br>JILL: (beat) Add Olivia to that list too.

Charlie's a bit surprised by this, actually.

CHARLIE: Olivia?  
>JILL: Well... she fucked Trevor.<br>CHARLIE: You serious?  
>JILL: While he was with Jenny... he cheated on her... with Olivia.<br>CHARLIE: Holy shit.  
>JILL:... I saw the whole thing. It happened right in front of me. Right in her room. (beat) I wanna watch her die the same way. Right in that room... where she betrayed our friendship.<br>CHARLIE: That'll be a bit hard to pull off.  
>JILL: No. She's day 2. Day 1 is Jenny... Day 2 is Olivia... Day 3 we end it at Stab-A-Thon with Trevor and Sidney.<br>CHARLIE: What if we can't get Sidney to Stab-A-Thon? And how are you gonna get there if your mom won't let you go? And with the fact that a killer is on the loose for two days prior, I highly doubt it'll happen.  
>JILL: FUCK! I don't know. Just... okay, whatever. We'll figure it out.<br>CHARLIE: Don't stress, honey.  
>JILL: I'm not stressing.<br>CHARLIE: (beat) Hey... we're gonna do this. Okay? And then it'll just be you and me. Like we planned. We'll figure the rest out and who and why later. Okay?  
>JILL: (smiles... fakely) Okay.<p>

He pulls her chin in and kisses her. He goes back to the paper as she looks onward...

CHARLIE: Can I ask you a question?  
>JILL: What?<br>CHARLIE: Why are you doing this anyway? I mean, what's the real reason? Other than fame... revenge... what else is there?

Jill takes a beat to think. She glares at a picture frame. It's a picture of Charlie and Chelsea. Her eyes water but she quickly blinks to not let it form into a tear.

JILL: I don't wanna be forgotten. I want people to care. (beat) By any means.

* * *

><p>8.<br>SMASH CUT TO:  
>INT. JILL'S LIVING ROOM - NIGHT<br>Jill enters her house, just before 10 PM. Kate is in the kitchen, reheating some lasagna.

KATE: You're back?  
>JILL: (beat) Yeah. Back.<p>

The phone rings. Kate quickly answers.

KATE: Hello?

Jill makes her way up the stairs, but slowly to hear the conversation.

KATE: Oh hi, Sidney!

She stops completely and her head leans in.

KATE: Oh, that'll be great! That'll be just fine.

Jill slowly steps back down, trying not to be too obvious.

KATE: You're welcome here any time. (waits) Jill? Oh she's great. She's great. Wanna talk to her?

Kate quickly comes to the stairs and notices Jill on the stairs.

KATE: Jill, dear, it's your cousin Sidney. Talk to her.

Jill freezes up a bit. And then she takes the phone. Kate runs back off to the kitchen. Jill puts the phone to her ear and she clears her throat.

JILL: Ahem, um, hello?

INTERCUT WITH:  
>INT. AIRPORT TERMINAL - NIGHT<br>Sidney's at baggage claim waiting for her bags. Rebecca stands in the back, reading a magazine.

SIDNEY: Hey Jill, how are you?  
>JILL: I'm good. Good, you?<br>SIDNEY: Oh, I'm just fine. Here in Texas, just landed. Have you heard, I'll be coming to Woodsboro in about a month for the end of my book tour.  
>JILL: Oh really? That's so cool.<br>SIDNEY: Yeah, I'll be seeing you. We can spend some time together finally. I know last time we didn't.  
>JILL: (gulps) Sounds good. (smiles... it might be for real) I'm excited.<br>SIDNEY: Good, me too. But hey, I have to leave. I'll see you when I get there, okay?  
>JILL: (beat... a small tear comes to her eye) See ya.<br>SIDNEY: Bye sweetie.  
>JILL: (beat) Bye.<p>

She hangs up. Jill puts the phone down and slowly makes her way up the stairs.

INT. JILL'S ROOM - CONT'D  
>Jill enters her room and closes the door. Her eyes heavily watery. She comes forward to her dresser... a picture of her and Sid are on it from when she last visited... she picks it up... and the tears fall from her eyes... and then she looks into her dresser at a magazine. She opens to the Emma Watson premiere pictures... and then her eyes suddenly turn blank... she wipes the streams from her face and looks into the mirror. And suddenly, she has the most sinister of looks...<p>

JILL: I'm almost famous.

"Almost Famous" by Eminem kicks in during it's intro as she continues to stare into the mirror...  
>[youtube. comwatch?v=XTTfxKF387M]

SMASH TO BLACK:  
>The chorus hits at (0:30) and the credits begin. "Almost Famous" continues to play.<p>

* * *

><p>Send in your questions for the upcoming Q&amp;A that'll be posted after the next episode!<p>

Be sure to 'like' the **Scream Fanfiction** page on **Facebook**!

**267 reviews** for the **PRE-SERIES FINALE EPISODE, "BAD KARMA!**" This is it, folks. **SCREAM 4 IS HERE!** We're gonna do **318** (to match season 2's total number) before the first part of the series finale, titled **"4.5"** is posted. Deal? Get to it!


	30. Jill's Kill List: Version 02

[Verse 2:]  
>I do whatever it takes<br>When I'm with you I get the shakes  
>My body aches when I ain't<br>With you, I have zero strength  
>There's no limit on how far I would go<br>No boundaries, no lengths  
>Why do we say that until we get that person that we thinks<br>Gonna be that one and then once we get 'em it's never the same?  
>You want them when they don't want you<br>Soon as they do feelings change  
>It's not a contest and I ain't on no conquest for no mate<br>I wasn't looking but I stumbled onto you, must've been fate  
>But so much is at stake what the fuck does it take<br>Let's cut to the chase  
>But a door shuts in your face<br>Promise me if I cave in and break and leave myself open  
>That I won't be making a mistake<br>Cause I'm a...

I'm a space bound rocket ship and your heart's the moon  
>And I'm aiming right at you<br>Right at you  
>Two hundred fifty thousand miles on a clear night in June<br>And I'm aiming right at you  
>Right at you<br>Right at you

- Eminem, "Space Bound"

KILL LIST:  
>JENNY RANDALL (Jenny, Jenny, I'll kill you plenty.)<br>TREVOR SHELDON (Oh Trevor, oh Trevor, was it worth it to tempt her?)  
>OLIVIA MORRIS (Olivia, welcome to my kill list you two faced, back stabbing WHORE. I'll gladly watch you die for EVERYTHING you've ever done to me. It's been a long time comin for you...)<br>SIDNEY PRESCOTT (Do I hate you? Maybe. Do you deserve to die? Maybe not. But honey, I got plans... and those plans say you get knifed in the end. We were supposed to be blood. I trusted you. Now I'll gladly spill your blood. Again, do you deserve to die? I've changed my mind. Yes.)

**267 reviews** for the pre season finale episode, "Bad Karma."

Be sure to join the **Scream Fanfiction** page on facebook!

Send in all your **Q&A questions**! They'll be answered after this next episode!


	31. Kirby's Advice Column: Issue 69

**Dear Kirby, what's your favorite scary movie?**  
>Very funny, Robbie. Stop writing my page, dickweed!<br>P.S. To fix your crabs problem, you may want to try special shampoos.

**Dear Kirby, why can't I find love?**  
>Because you're looking for it. Stop. And it'll find you.<p>

**Dear Kirby, how do I deal with rumors?**  
>You can try confronting them while they're half naked in the locker room. That's what I did anyway. R.I.P. CS<p>

**Dear Kirby, how do I lose weight in time for Prom?**  
>Exercise. Cut sugar out from your diet. Added sugar, not natural sugar. So you can eat fruits but don't drink soda. Especially not diet soda. That shit is straight up poison. A poison I happen to enjoy though...<p>

**Dear Kirby, where do you get your clothes? You're so stylish!**  
>Bitch, if I told you then I wouldn't be unique anymore!<p>

**Dear Kirby, do people make fun of you because of your name?**  
>HOLD THE PHONE. Guys, this is an ADVICE COLUMN. Not Kirby Q&amp;A. But yes, people tend to think I'm a little circular pink monster that eats everything. But I don't.<p>

**Dear Kirby, should I get my nipples pierced?**  
>I don't know... would your nipples look better with them?<p>

**Dear Kirby, how do I tell my boyfriend I'm pregnant?**  
>With your mouth. Or sign language if you're deaf. I now realize that was offensive to those vocally impaired. My apologies.<p>

**Dear Kirby, I was thinking of re-financing my house due to the surge in the market. Do you think now is the best time to do this myself for extra cash or get a professional?**  
>... um...<p>

**Dear Kirby, I'm in love with you. How can I make you my girlfriend?**  
>I have an Amazon wish list. Buy me everything on that and we'll talk...<p>

**Dear Kirby, how do I tell someone that I'm not interested in them even though they keep making advances towards me?**  
>You have to be straight with them. Don't sugar coat it. These people are too stubborn to realize that somebody might actually not like them. They think you're playing "hard to get" or whatever. Sometimes it's fun to be cutesy like that, I admit, but overdoing it can get you a stalker or two. Choose who you tease wisely or end up getting CUT! But seriously, keep your foot down. If they get too rough, let someone else know who will kick their ass. If it's someone of the same sex, well uh... that's a bit more difficult to answer.<p> 


	32. PRE SERIES FINALE: Bad Karma: 1

**Originally going to be one long episode and I figured, why do that? Seriously, it was going to be like 12,000 words which is double the length of a regular episode. So for now, here is the first half.**

315_ - Bad Karma: 1_

1.  
>FADE IN:<br>INT. PANTRY - NIGHT  
>TITLE CARD: Friday... April 15th... 2011.<br>We're in a closed, confined space. Mostly dark. But line shines through from the cracks of the kitchen outside the door. And just enough light is cast upon TREVOR, duct tape around his mouth and his arms clearly tied behind his back.

An array of yells are heard outside the door. Charlie's voice. Sidney's voice. Jill's voice. His eyes shift around, as if he can see them outside the room. Like he's trying to figure this out. He looks down, trying to piece the puzzle together. And then... we hear his inner monologue.

TREVOR (O.V.): I'm not sure of how it came to this. How I got in this position. Why I'm here. Getting caught up in something this crazy was the furthest thing from my mind when I met Jill. Before she knocked me over the head and tied me up. Before I was stuffed in this closet. Before I knew all her friends. Before our first kiss.

FLASHBACK - SLOW MOTION - They kiss on the bleachers outside of the Woodsboro Plaza.

BACK TO THE PANTRY - CLOSE IN ON HIS EYES

The ruckus outside the room begins to grow. His eyes shift even faster.

TREVOR (O.V.): I don't know what's going to happen to me. I still don't know the full story. For all I know, this is some sick joke. Or just revenge. I loved Jill. I really did. But I also loved Jenny. And for a moment there, I loved Olivia too. Is that why they're all dead? Because of me? Is Jill really the one responsible for all this? Couldn't be. She's barely 90 pounds. Wears boots to make herself taller. Too sweet. Too innocent. She wouldn't even harm a fly. As I lay here in this pantry... my fate unknown... with all the regret built in me now knowing that Jill is my one true love... all I can think... is - -

THE DOOR BURSTS OPEN. Charlie grabs him and THROWS HIM TO THE FLOOR.

**SMASH TO BLACK.**

* * *

><p><strong>MAIN TITLES:<strong>  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<br>The Third and Final Season

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

* * *

><p>2.<br>OPEN ON:  
>EXT. PARKING LOT - DAY<br>TITLE CARD: Monday... April 11th... 2011.  
>"Bad Karma" by Ida Maria blares out from the speakers from Roy's car in the parking lot of an abandoned grocery store. Roy walks around the lot with a set of cones, placing them strategically around.<p>

Niley sits in the car, drumming on the dash board with her fingers and singing along to the song. However... she hardly knows the words. She just knows it kicks ass and she's really feeling it in this moment.

NILEY: Cuz it's gonna start gettin weird right here/Bad karma!/Baby that's what you got/Bad Karma!/Do uh... do believe it or not!/The - universe is gonna - getcha? You're always scratchin the side of your head? You know what I think? BAD KARMA'S A BITCH! Ba dadadada da dadaaaaaa. Da dadada da daaaaaa.

Roy switches the radio off.

NILEY: Whoa, what the fun, Roy?  
>ROY: You ready for this?<br>NILEY: This is gonna be easy.

INT. ROY'S CAR - CONT'D  
>Niley sits in the driver seat now. Roy sits in the passenger. They both look forward at all the cones set up before them. He looks at her... then back at the cones. HIS SEATBELT COULDN'T COME ON ANY FASTER.<p>

ROY: Okay, Niley, the first rule of driving is - -

SHE SLAMS ON THE PEDDLE. Both of their heads jerk back from the acceleration. She then weaves in and out of the cones with precision. Tire marks spreading across the black asphalt. She then DRIFTS, the car sliding at the very end and comes to a stop - - LIKE A PRO.

ROY: (out of breath) I guess you know everything.

She shrugs and giggles cutely.

EXT. FREEWAY - A MOMENT LATER  
>Roy's now much more at ease. Niley drives along, a "I don't know where I am but I'm happy anyway" smile on her face.<p>

ROY: Well since you know how to drive, I'll just tell you the basics to humor myself so this lesson didn't seem completely pointless for me.  
>NILEY: Oh, I don't know how to drive.<br>ROY: (chuckles) You know more than how to drive.  
>NILEY: No, I don't, this is my first time.<br>ROY: (his face suddenly serious) Then how the hell did you all that back there?  
>NILEY: I watch a lot of movies. Play video games. It was a lot general instinct, actually.<br>ROY: I can't even do that.  
>NILEY: Well that's because you're stupid.<p>

She nods along, as if a song is playing only in her head.

ROY: Okay...

He's suddenly TERRIFIED.

ROY: Well the two peddles down there - -  
>NILEY: Puddles? Where? It's not raining outside.<br>ROY: No, Niley, the peddles. The things you're stepping on to make the car go - - oh Jesus, I just realized we're on the freeway. How the hell did that happen?  
>NILEY: What about the puddles?<br>ROY: The one you're stepping on is the accelerator. You use that one to go, like you are now and like how I would love it if you let up on it and got off on this off ramp here.

She speeds by the off ramp, her out-there smile still on her face.

ROY: And the other one - -  
>NILEY: (slaps his knee) Hey, we're going to Disneyland at the end of the week, right? !<br>ROY: Where that come from?  
>NILEY: I got tickets to Disneyland for this month, we should go for a couple days.<br>ROY: Uh... well.. we will talk about that later because you are driving several tons of metal and glass at high speeds and I would really like to live.  
>NILEY: Wanna go Thursday?<br>ROY: That's when Sidney comes, I don't wanna miss that.  
>NILEY: Sidney, schmidney. This is Disneyland. What about Friday?<br>ROY: That's Stab-A-Thon. How about Saturday?  
>NILEY: Then it'll be crowded and you know how I get when I'm in a long line.<p>

CUT TO:  
>INT. DEPARTMENT STORE - DAY (FLASHBACK)<br>Niley and Roy stand in a long line. Niley starts to shift her eyes nervously... and she DROPS to the floor. Roy facepalms himself... he's used to this.

NILEY: I can't do it any longer, Roy!

She rolls around on the ground and out of sight. The other people in line look at Roy... as if this is his fault.

ROY: Change of medication. Makes her loopy.

BACK TO:  
>INT. ROY'S CAR - CONT'D<br>Roy doesn't know what to say.

NILEY: Forget it, continue the lesson.  
>ROY: Okay.<br>NILEY: What's this other puddle?  
>ROY: That's the brake one. We're on a freeway, so don't touch it.<br>NILEY: What, this one?

She STOMPS on it. The car skids across the road, coming to a burning rubber stop as the cars around and behind them FLY BY at high speeds.

ROY: Oh, my God! We're gonna die!

Niley starts to scream, not knowing what to do. Roy's lost his shit at this point, covering his head and screaming uncontrollably.

CUT TO:  
>INT. NILEY'S HOUSE - DAY<br>Roy drives up to the curb, coming to a stop. His face is FURIOUS. Niley smiles, apollegetically.

NILEY: So that was fu - -  
>ROY: GET OUT! GO! LEAVE! BYE!<p>

She screams with a cry and tries to climb out the window.

ROY: Use the freakin' door handle! What are you - -

She topples out and looks at Roy, his face still bewildered.

NILEY: If it makes you happy to know, I wasn't planning on driving ever. I was thinking of becoming like... I don't know, an actress or a singer or something and then someone else could just drive me around all day!  
>ROY:... bye Niley.<p>

He steps on the peddle and skids out of there, leaving her behind. She puts her head down in shame and walks to her front door. Her mother steps out onto the balcony and yells down:

NILEY'S MOM: YOU'RE FINALLY HOME NOW?  
>NILEY: YES, MOTHER! WHY ARE YOU ALWAYS SCREAMING AT ME? !<br>NILEY'S MOM: HUH?  
>NILEY: WHY DO YOU INSIST ON SCREAMING? !<br>NILEY'S MOM: I'M NOT SCREAMING, YOU'RE SCREAMING!  
>NILEY: SHUT UP!<p>

She runs into the house and slams the door. A couple walk passed with their dog on a leash, looking at the house with worrisome faces.

* * *

><p>3.<br>CUT TO:  
>EXT. ROBERTS RESIDENCE - DAY<br>Jenny knocks on the door. She appears determined... strong willed... JILL ANSWERS.

JILL: What are you doing here?  
>JENNY: I wanna talk to you for a second.<br>JILL: No.  
>JENNY: Please, Jill, I just... I wanna get some things off my chest.<p>

Jill scowls... but lets her in.

INT. JILL'S LIVING ROOM - CONT'D  
>Jenny now sits on the couch. Jill comes back over from the kitchen and hands her a soda can.<p>

JENNY: Thanks.

Jill plops down on the couch across from her.

JILL: So what do you have to say?  
>JENNY: I never... I never meant to hurt you, Jill.<br>JILL: Well, you failed.  
>JENNY: I know and I'm sorry. I didn't want this to happen - -<br>JILL: Then why'd you do it?

Jenny shakes her head... lost in her own thoughts.

JENNY: I thought... I was in love.

Jill kinda feels her pain now... but she's not gonna start suddenly being nice to her because of it.

JILL: And you thought what I had with Trevor was just, what? For fun?  
>JENNY: We weren't friends anymore, Jill.<br>JILL: Yes, we were.  
>JENNY: No, we weren't. That's - what? How could you even think that?<br>JILL: You really think that just some guy would ruin our friendship?  
>JENNY:... you're kidding, right?<p>

Jill is nearly fuming. How dare Jenny not understand how she feels...

JILL: You betrayed me. How could you?

Jenny's damn near shocked. She nearly laughs thinking it's a joke. Then she can see in Jill's eyes... she's serious.

JENNY: How could YOU?

The soundtrack thuds.

JILL: Excuse me?  
>JENNY: Let's see if I'm recalling this right, Jillian. I meet Trevor and then you come by and swoop him up, especially after I told you I liked him.<br>JILL: He chose me, I didn't steal anybody.  
>JENNY: I asked you to stay away from him.<br>JILL: And I told you that was rediculous.  
>JENNY: Yeah, it was so fucking crazy considering what I thought would happen did happen.<br>JILL: Do you think I WANTED to steal him from you, JEN-NI-FER? What happened between Trevor and I came naturally. You were just too fucking desperate to have him or any guy to notice.  
>JENNY: Any guy? ! He was the FIRST guy I liked in YEARS.<br>JILL: Oh, so you weren't drooling over Patrick?  
>JENNY: NO. We've gone through this!<br>JILL: Did you or did you not think he was attractive?  
>JENNY: (beat) What does that have to do with - -<br>JILL: Answer the question. Did you or did you not?  
>JENNY: He was, so WHAT? It's a crime to think someone is good looking?<br>JILL: He's off bounds if he's mine.  
>JENNY: I was just thinking something, Jill, I wasn't planning on doing ANYTHING. It's not my fault he was trying to cheat on you with me!<br>JILL: BUT YOU NEVER TOLD ME!

Jill begins to cry and puts her head down, embarrassed for Jenny to see her.

JILL: Do you have any idea how I felt? Especially when I learned it was you? I felt humiliated... stupid... naive... oblivious for it to happen right under my nose when I spent every waking minute either with you or with him and somehow, I STILL DIDN'T KNOW. That HURT, Jenny. And you never clued me in, NOT ONCE, until the night he tried to - - rape me. Don't you see, Jenny? Don't you get it? YOU - COULD'VE - SAVED - ME. From all of this pain I have inside. From that incident ever happening. But you didn't say shit. And that's why I'm fucked up. Because of you.  
>JENNY: Don't blame that on me.<br>JILL: Because - of - you I am who I am today. Scared, hurt and now I'm alone. Because of you. You did enough damage by not telling me my boyfriend was trying to be a cheating bastard, with you nonetheless, but then you actually steal away Trevor?  
>JENNY: What happened on Prom night was a mistake and I regret it now, fully, okay? Is that what you want to hear? I just want to fix this.<p>

Jill goes to respond... and then stops. Her eyes tear up again... as she thinks more and more about what she just said...

JILL: What do you mean, Prom night?

THE SOUNDTRACK THUDS. And Jenny's just nearly shit her pants.

JENNY: He... didn't tell you?  
>JILL: Is that.. how long it was going on for?<br>JENNY: Jill, look, I'm sorry if he didn't tell you.  
>JILL: We were together all the way until September. Prom was in June... was it just that one time?<br>JENNY: (beat) No.  
>JILL: How many times?<br>JENNY: How many times what?  
>JILL: How many times did you guys... fuck while he and I were together?<br>JENNY: (beat) I don't... I don't know... we were together... every day practically.  
>JILL: ... so when I saw you in November... when I saw you, for the first time... out together in public... you're saying... you guys... were together already?<br>JENNY: (beat) Yeah. We... just, yeah. We started what we had... in June. And I'm sorry that it came to that and I wish I never did. I realize I was stupid now and even if you were my friend or an ex-friend or whatever, I see that it was entirely shitty of me to even think of it and I know you must hate me right now but I'm asking you to please not ha - -  
>JILL: What else did you do?<br>JENNY: What?  
>JILL: Sexual things. What else?<p>

Jenny nearly shivers. Thinking about even just running out the door. But she has to confront her... to ease her nervousness, she pops open the soda.

JILL: Don't fucking drink my soda, put it down.

She listens.

JILL: And answer... my question.  
>JENNY: (shrugs) ... everything.<br>JILL: (beat) Did you suck his dick?  
>JENNY: ... yes.<p>

Jill holds her face, trying to keep in the tears. She can't even look at her for this question...

JILL: Did he go down on you?  
>JENNY: Jill, what does it matter anymo - -<br>JILL: Answer the fucking question or so help me God...  
>JENNY: Yes.<br>JILL: While he was with me, I mean... like he would see you and then he would go out to see me. Before seeing me, would he eat your pussy?  
>JENNY: Yes.<br>JILL: Did you use a condom or did you fuck without one?  
>JENNY: Jill, that's private...<br>JILL: Please... I just wanna know...  
>JENNY: There was... a time where he used a condom... and then I got the pill... and he didn't need it anymore.<br>JILL: Did he cum inside of you?  
>JENNY: Yes and that's the last question I'm answering.<p>

Jill breathes hard, just to let it all out of her system.

JILL: You can go now.  
>JENNY: Jill, I wanna fix this.<br>JILL: It can't be fixed. I hate you. With every fiber of my being, I hate you.

Long beat.

JILL: Please leave.

Something inside of Jenny compells her to try and just stay. To try and say something that might fix this. Jill cries into her sleeve, unable to even look at Jenny any longer. A tear falls from Jenny's eye... she truly never realized how much pain she was causing... and if there were magic words that could fix this... she'd say them. And maybe there is... but instead...

JENNY: Bye Jill. I hope you get everything you want in life. And I truly mean that. And I wish I could give it to you...

Jenny feels like it's useless... and she heads for the door.

JILL: Trevor was cheating on you with Olivia. Now you know how it feels.

Jenny stops at the door. She could reply... but forget it. She exits.

* * *

><p>4.<br>CUT TO:  
>INT. MARNIE'S ROOM - SUNSET<br>Marnie fixes up her room a bit, throwing away the last piece of trash into a bag. Her cell phone rings. She answers.

MARNIE: Hellooooooo.  
>JENNY (O.S.): Marnie, are you busy? I really need you right now.<br>MARNIE: No, not really, what's up?

Her other line beeps.

MARNIE: Ah, wait just a second.

She switches over.

MARNIE: Hello?

INTERCUT WITH:  
>INT. BRECKIN HIGH - HALLWAYS - SIMULTANEOUS<br>SALLY exits from what appears to be a meeting. She stops and leans on a wall.

SALLY: Hey girl. Got time to chat?  
>MARNIE: Oh, yeah! All the time in the world for you! One second though.<p>

She switches back over.

MARNIE: I gotta go, Jenny, can't talk afterall. BYE!  
>JENNY: Wait, Marn -<p>

She switches over before she can finish.

MARNIE: Back.  
>SALLY: Hey, so, I was just with the prom committee. We were shooting ideas - - shooting... um, I mean, throwing around ideas for what to do this June.<br>MARNIE: Yeah? That's cool.  
>SALLY: And I heard you were coming back to Breckin and I was just wondering if we'll be seeing you? We could really use your expertise around her. Last prom was sooo dead... not dead, um... dull.<p>

Marnie smiles big.

MARNIE: Yeah, definitely, I'll be there.  
>SALLY: Good. Be sure to give me a call so I know when to expect you.<br>MARNIE: I'll be sure to do that, I'll even put an alert on my phone to do that.  
>SALLY: (smiles) See ya, Marnie.<br>MARNIE: Bye.

She hangs up. Marnie jumps up and down totally happy. It's exactly what she's been wanting to hear.

CUT TO:  
>INT. NILEY'S ROOM - NIGHT<br>Niley flips through a photo album as she lays in bed. She smiles as every page flips by. She comes to a picture of Squirrely... she rubs it, as if she could touch his fur... she flips the page. Her and Robbie. An entire page dedicated to them on all their miscellaneous adventures. Instead of ripping to the next page... she reminsces for a moment. And then she looks down at her phone... she feels almost powerless...

INT. ROBBIE'S ROOM - SIMULTANEOUS  
>Leo and Mayra work on Robbie's camera as he texts on his phone. And then his phone rings. Leo and Mayra look back at him, "are you gonna get that?" Robbie's freezes the moment he sees Niley's name... he jumps up and exits the room, standing outside the door frame. He answers.<p>

CUT TO:  
>INT. NILEY'S FRONT YARD - A BIT LATER<br>Niley leans onto her tree. Robbie walks up and up the grass toward her. He sighs.

ROBBIE: Why'd you wanna see me?  
>NILEY: Do you remember the night we got together?<br>ROBBIE: (sighs) Yeah, why?  
>NILEY: You... threw rocks at my window. We hadn't been talking for awhile because we had a poorly timed kiss... and then you asked me to see you. So I came down... you were leaning on this tree. And then we started a year and a half adventure with each other.<br>ROBBIE: Yeah...  
>NILEY: Do you regret it?<br>ROBBIE: (beat) No, ofcourse not.  
>NILEY: Did you hate me or something?<br>ROBBIE: What? No.  
>NILEY: Then why... would you fool me for so long? I just... wanna know why.<br>ROBBIE: I didn't... I thought it was real... and then I realized it wasn't. I realized I was something else.  
>NILEY: So standing here, right now... in front of me... you feel nothing?<br>ROBBIE: (gulps... and shakes his head) Sorry.

Niley smiles...

NILEY: That would've hurt me before. Now, not so much. (beat) Robbie, I'm tired of avoiding you.  
>ROBBIE: That's grown up of you to say.<br>NILEY: So why didn't you try to... come to me first?  
>ROBBIE: What?<br>NILEY: Why did you wait until now... to talk to me? For me to ask you? Why didn't you try to talk to me so we could... finish what was between us.  
>ROBBIE: You were the childish one, I was giving you space.<br>NILEY: You cheated on me and told me you were gay. Excuse me for acting childish.

Robbie puts his head down, ashamed.

NILEY: I was never hurt before, Robbie, I didn't know how to react. I pushed you away. I pushed my friends away. And you never tried to help me. How could you just let me become so distant from you after everything we had been through?  
>ROBBIE: Maybe I needed space too. Should I have been the one to find new friends and all that? Maybe. But I needed room to breathe, to figure out who I am and what I was. I needed time to accept myself. I hated who I was after we broke up. Fucking hated myself. You know, I thought of suicide?<br>NILEY: What?  
>ROBBIE: Yeah. That's how much I hated hurting you. How much I hated hurting Solai. How much I hated being gay. How much I hated the way I tried to hide it. And then I hated everything that happened because of it. How I tore everyone apart. I just wanted to... to die. And then I... I think something changed my mind. I can't remember what it was or when...<br>NILEY: Well I'm glad you didn't. (beat) Was it... someone new? I mean... for you? For your kind, I guess?

Robbie ponders that for a moment... and then he remembers... a small smirk forming on his lips...

ROBBIE: You know what? Yeah. And I just realized it.  
>NILEY: Glad I could help you.<br>ROBBIE: (beat) You weren't for nothing. I promise you that. And you... you're a great fucking girl, Niley Krinkey. Anyone would be damn lucky to have you. I wish I could. I really do.

Niley smiles, a tear falling down her cheek.

ROBBIE: One day, you'll find someone. Someone who will love you. Treat you like a queen. Treat you like... you're everything in their world. Treat you better than I ever could. They'll love you... marry you... have your children... grow old and wrinkly with you.  
>NILEY: You think so?<br>ROBBIE: I know so.

She slowly steps toward him... and gives him the biggest hug. He hugs back...

NILEY: Thank you.

He smiles... hugging her harder... glad that he can...

CRANE UPWARD into the tree as they hug... and fade out...

* * *

><p>5.<br>FADE IN:  
>INT. CHARLIE'S ROOM - NIGHT<br>Jill and Charlie sit on opposite sides of the room in chairs with notepads each.

JILL: What kind of knife do you think we should use?  
>CHARLIE: Ghostface uses the buck hunting knife.<br>JILL: I know but we're remaking it so should we completely emulate that or...?  
>CHARLIE: We'll use one buck and uh... a kitchen knife. One same, one new.<br>JILL: Good idea. I like that. (beat) Look into cameras yet?  
>CHARLIE: I wanna get a DSLR but they're fucking expensive.<br>JILL: How much?  
>CHARLIE: 700 or more.<br>JILL: We can swing that.  
>CHARLIE: Not without looking suspicious. Especially if it's in two days.<br>JILL: ... you're right. That reminds me! You need a costume.  
>CHARLIE: Oh, I already got one.<br>JILL: Really?  
>CHARLIE: Yeah.<br>JILL: Hm...  
>CHARLIE: So I was thinking the motives scene... how are we going to pull that off?<br>JILL: We don't need one. Deaths. That's all people care about anyway.  
>CHARLIE: But we need an ending?<br>JILL: Then fucking figure it out, Charlie!  
>CHARLIE: Okay, shit... wanna... fool around?<br>JILL: NO.  
>CHARLIE: C'mon, it's been a month.<br>JILL: (beat) You can fuck me all you want once this over. K?  
>CHARLIE: Anal?<br>JILL:... there's something wrong with you.

She laughs and crumples up a paper, throwing it at his head.

CHARLIE: You're missing oooout.  
>JILL: You're gross.<p>

Her phone rings. She looks down: it's Roy.

CHARLIE: Who is it?  
>JILL: Uh... it's my mom. I'll be right back.<p>

Jill quickly jolts up...

INT. CHARLIE'S FRONT YARD - CONT'D  
>Jill quickly hops out the front door and puts the phone to her ear.<p>

JILL: Hey honey.

INTERCUT WITH:  
>INT. ROY'S KITCHEN - SIMULTANEOUS<br>Roy fixes up dinner on the stove.

ROY: Hey! You coming or what?  
>JILL: I actually, um... I'm studying right now, with Charlie.<br>ROY: Oh, okay. Well... I'm cooking stroganoff per your request.  
>JILL: Yeah, I'll be a bit late for that. I'm sorry...<br>ROY: That's okay... I'm sure you'll repay me later...  
>JILL: Third base?<p>

Roy nearly drops the phone.

ROY: What?  
>JILL: (blushes, coy) You heard me.<br>ROY: (mock-posh) That's a little too quick for me, Jill, we're not even official yet.  
>JILL: I gotta test drive you first before I pick you off the lot.<br>ROY: Cute.  
>JILL: But I am sorry and I'll just be another hour. I promise.<br>ROY: That's fine.  
>JILL: Bye.<br>ROY: (beat) Bye.

Jill hangs up. She turns around - - BUMPS INTO CHARLIE.

JILL: Shit!  
>CHARLIE: You told your mom you'll be another hour?<br>JILL: Yeah, uh... she's cooking.  
>CHARLIE: I figured out the camera situation.<br>JILL: Oh?  
>CHARLIE: Wireless webcams.<br>JILL: There's such a thing?  
>CHARLIE: Yeah, let me show you.<p>

He hops up his steps... Jill sighs and follows.

* * *

><p>6.<br>INT. CHARLIE'S ROOM - CONT'D  
>Charlie sits at his chair with his laptop out. Jill looks at the site. They're fairly inexpensive.<p>

JILL: Cool. Nab it.  
>CHARLIE: 3?<br>JILL: Yeah. No. 3.  
>CHARLIE: You got it, boss.<p>

Jill sits back down at her spot in his room. He proceeds to put in the order.

CHARLIE: I was also thinking of another thing. You know how Sidney's mom was murdered by the killers a year earlier? How do we go about that in the plot? Use someone else we know that's dead? Chelsea?  
>JILL: DON'T YOU DARE EVEN THINK ABOUT DOING THAT.<br>CHARLIE: Sorry...  
>JILL: (beat, like it's nothing) We'll just kill my mom.<p>

Charlie stops typing... and slowly turns...

CHARLIE: What?  
>JILL: (sighs) Yeah, we'll just have to kill my mom. Can't do her in first though, it'll ruin the opening kill we have set up for Miss Jenny Randall. So we'll put it somewhere else in the movie. Perhaps the middle. That's different, right?<p>

Charlie can't believe his ears.

CHARLIE: Jill, that's your mom.  
>JILL: And sacrifices have to be made. She deserves it anyway.<br>CHARLIE: C'mon...  
>JILL: I don't have to explain it to you. Just trust me.<br>CHARLIE: I feel wrong - -  
>JILL: Don't. If you knew her... you probably would've done it along time ago.<p>

This sends a shiver down his spine. He goes back to typing in the order... she sits up, excited.

JILL: Okay, I got it. You ready?  
>CHARLIE: Sure.<br>JILL: Jenny's first to go. More than likely she'll be with Marnie but if not, no big deal, she's not a target.  
>CHARLIE: What if she's with someone else? Like Niley?<br>JILL: Well I'm not killing Niley so... we'll just have to make sure she's not there.  
>CHARLIE: What do you mean you're not killing Niley? Why not? You'll kill your mom but not her?<br>JILL: Can I fucking finish my list?  
>CHARLIE: Okay, shit.<br>JILL: Okay, Jenny's a go. Marnie's a potential candidate.  
>CHARLIE: Oh, what if she's by herself?<p>

She just gives him a heated look...

CHARLIE: Sorry.  
>JILL: That's day 1. Day 2. Olivia. At this point, Sidney will know of a day 1 murder. My mother will take her in, easy bait. Ofcourse, she'll have supervision by now so this will be a bit hard to pull off. As said, I want to watch that bitch die so you'll be handling this one solo. I'll have someone with me at the time, uhhhh Kirby? I put on my performance, rush over there like I'm going to save the day but "oh no, I'm too late!"<p>

Charlie smirks, liking this already.

JILL: You slice me real quick. The arm, that way I don't go by unscathed. It's more real that way. Learned that watching Stab 2.  
>CHARLIE: Nice.<br>JILL: From my wound, I will then be taken to the hospital. I'll ask Sidney to come with me and you will go there with Robbie. Give yourself somewhat of an alibi. Check on me, ask if everything is alright.  
>CHARLIE: Got it.<br>JILL: Then day 3. I'll be on total lockdown, I doubt I'll even be able to go to school.  
>CHARLIE: Stab-a-thon day.<br>JILL: That's right. Our false ending to get things exciting. Here, no deaths. But if any reporters get snoopy looking for a teen blood bath location, we'll get them injured. We might be able to use them, say they were on the inside and we can write a book with them or something. The ultimate "tell all" to the reboot from accounts on the inside. It'll sell like fucking crazy. Our revenue will skyrocket at this point on top of the fame.  
>CHARLIE: I could always use more money for my film career. So what's after our false ending?<br>JILL: The real ending. This is the big one. This is where we finish it off. I'll talk to Kirby, ask her if she can have some people over. Bitch is desperate to be cool so God knows she'll say yes.  
>CHARLIE: But wait, how are you going to get out from the house?<br>JILL: I'll sneak out.  
>CHARLIE: Easier said than done with police supervision and Sidney there. And with no car, how you gonna get there?<br>JILL: I'll get rid of the cops, quick and easy. Mother around this same time too, maybe I can time it just right somehow. Ask her to go to the store and after I'm through with the pigs, I can cut her real quick just as she's coming home. By that time, Sid will probably check up on me and that's where I leave the bait to bring her to Kirby's. I'll leave my phone behind with a text open to Kirby asking her to pick me up.  
>CHARLIE: Your phone?<br>JILL: You're right. Stupid. My laptop. Better?  
>CHARLIE: Much.<br>JILL: Leave the laptop open. She goes chasing after me to save the day.  
>CHARLIE: And in the meanwhile?<br>JILL: And in the meanwhile, the grounds for our epic finale comes to a head. I'll keep Sidney in the dark about where Kirby lives so that it'll take her some time to figure out where the Reed's are located. There, we first get rid of Robbie.  
>CHARLIE: Why him first?<br>JILL: He's snoopy. Especially with his little camera, he'll be in everybody's business. Dispatch him quick and we got him out of the way.  
>CHARLIE: Wow. Where's Trevor in all this?<br>JILL: We make sure Trevor is knocked out somewhere, nice and out of the equation. That way he's the only suspect in this next little part.  
>CHARLIE: Continue.<br>JILL: Next up. Ms. Kirbiline Reed herself. And this is where the trickiness kicks in. We have to make sure Robbie's dead body is seen, this way Kirby can freak out. Final girl type of shit in every fucking Friday the 13th movie. And you have to be out of sight. I'll lead her to the basement where I then tell her to wait so I can go check on Robbie once again.  
>CHARLIE: She won't fall for that, she's too much of a horror nerd.<br>JILL: But here's where she will give in. You'll be outside, banging on the window. "I found Robbie dead." Hands bloody, the whole deal. Red flags will go off, she won't even be thinking about me plus with her believing the killer is right in front of her, my safety is almost damn near assured. I come attack you and set you up in a chair. Time for a little Stab 1 homage.  
>CHARLIE: Steve Orth?<br>JILL: Steve fuckin' Orth. I challenge Kirby to a little movie trivia, see if she gets it. Either way, we gotta kill her off. She wins or she doesn't, either way she has to believe I'm letting her go. As she goes to help the now obviously innocent you, that's when you kill her.

Charlie twitches a bit but tries to hide it.

JILL: By that time, Sidney might come around and discover the massacre. "Oh no!" Then we finish her off and end it with Trevor. Setting him up just perfectly to look like the killer. We dirty ourselves up a bit so we have battle scars and we come out of this thing looking like fucking heroes.  
>CHARLIE: Almost perfect.<br>JILL: Almost?  
>CHARLIE: (beat) Is perfect.<br>JILL: Damn right it is.  
>CHARLIE: (puts his notepad down) Makes my plan look like shit.<br>JILL: Leave it up to the girls, honey.  
>CHARLIE: You're so sexy in killer mode.<p>

Charlie stands up, coming towards her and eager.

JILL: Remember, Charlie? You can get yours when this is all over.  
>CHARLIE: I'm gonna fuck you like crazy.<p>

He comes forward to give her a simple kiss. She moves her head out of the way... he pauses briefly then pecks her on the neck.

CHARLIE: What about Roy?  
>JILL: What about him?<br>CHARLIE: His damn hero-complex won't kick in? Especially if he's involved with you?  
>JILL: We're not involved, I only saw him that once just to create the spark. I won't go running to him until after.<br>CHARLIE: Why don't I believe you?  
>JILL: You don't have to. Just know it's true. I'd never steer you wrong, Charlie. I love you... remember?<br>CHARLIE: (smiles) Yeah.

She pulls him in and plants a kiss on the lips.

CHARLIE: Still doesn't put him out though. He still might pop up. As might Niley. As might Gale fucking Weathers for all I know.  
>JILL: Then we'll plan accordingly. That's the... exciting thing about all this, isn't it, Charlie? Improvising? Prep work for my Oscar.<br>CHARLIE: I don't think they give out Academy Awards for Best Actress in a Black Market Snuff Film.  
>JILL: Just a segway to my real career, Charlie. (beat) Now I gotta go.<p>

Jill grabs her bag and heads for the door.

INT. CHARLIE'S FRONT PORCH - CONT'D  
>Jill stops and turns around to Charlie.<p>

JILL: (hands him the note from the pad) Hold onto this. I'll see you tomorrow. Just remember not to talk to me when you see me.

She walks off without much of a bye. He waves even though her back is turned... and he watches her go.

CUT TO:  
>EXT. ROY'S FRONT YARD - NIGHT<br>Jill jogs her way up the front walkway. Roy quickly opens the door. They greet each other with a big hug and kiss. He swings her body in as they both laugh. And then we ZOOM OUT...

Watching them from afar... OLIVIA. She instantly knows... something's not right...

**SMASH TO BLACK.**

* * *

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	33. PRE SERIES FINALE: Bad Karma: 2

_316 - Bad Karma: 2_

1.  
>FADE IN:<br>INT. ENGLISH CLASS - DAY  
>TITLE CARD: Tuesday... April 12th... 2011<br>MR. BAKER stands in front of the class, giving his normal lecture. Jill listens promptly. Robbie sketches something in his notepad. Charlie's gaze is directed out the window. Trevor's eyes burn a hole in the back of Jill's head. Olivia hides her phone while she texts behind someone's back. Kirby's knocked out, asleep.

MR. BAKER: The unit test will cover everything we've read on the handout titled A. Handout B and C we will take in May and June, plus we've yet to read some of the works in B and C. Works covered in the A timeline was Othello, The Jungle, The Things They Carried and Nectar in a Sieve. Everyone understand?

Will raises his hand.

MR. BAKER: Yes, Mr. Scanton?  
>WILL: I just wanted to let you know... you're my favorite teacher. Ever.<br>MR. BAKER: Oh, good. Extra points for you.

The rest of the class raises their hands.

MR. BAKER: I'm kidding.

The bell rings. Kirby's head pops up, a piece of paper stuck to her forehead.

KIRBY: I'm up. I'm up. What I miss?

CUT TO:  
>INT. VIDEO STORE - DAY<br>Jenny SLAMS Stab 7 on the counter. Topher's behind the counter, reading a magazine. He looks up at Jenny, trying to find out why she's so damn glow-y.

JENNY: Ring me up, please. Ring, ring, ring me uuuup.  
>TOPHER: Aren't you supposed to be in school?<br>JENNY: Aren't you?  
>TOPHER: I quit.<br>JENNY: Oh. We're watching a movie today in my other class that I've seen like 10 times so I thought I'd drop by, grab my movie early.

He begins to scan the movie. Jenny watches him...

JENNY: So uh... wanna come over and watch it with me?  
>TOPHER: ... you know I'm with Solai, right?<br>JENNY: Oh. Right. And I forgot, I'm supposed to hate you for that. Shame on you.  
>TOPHER: Says the girl who just hit on me.<br>JENNY: I didn't... hit - on - you. Okay, whatever. Total lack of judgment on my part and I'm over it. I'm over it completely. I'm starting a new leaf. No more sadness, no more needing people, no more bad energy. All positivity from here on and out. Starting with my favorite of the series, Stab 7.  
>TOPHER: It's good to see positivity left in the world.<br>JENNY: That's me. Mrs. Positivity.  
>TOPHER: Who's the Mr?<br>JENNY: Uh... Marnie. She can be the mister. I'm girlier anyway.

Topher laughs, throwing the movie in a bag.

JENNY: I haven't paid you.  
>TOPHER: It's on me.<br>JENNY: Really? That's so cool of you, thanks.  
>TOPHER: Get out of here. Go enjoy life.<br>JENNY: I will. I will! Thanks Toph!

Jenny grabs the bag and jets out of the store.

CUT TO:  
>INT. JENNY'S LIVING ROOM - HOURS LATER<br>Jenny holds up Stab 1, 2 and 3 in her hands toward Marnie and Niley sitting on the couch.

JENNY: Tonight, a triple feature of Stab 1 through 3 and then tomorrow... (grabs the others) Stab 4, 6 and 7.  
>MARNIE: What about part 5?<br>NILEY: (hovers her hand in front of Marnie in caution in the most innocent way possible) Trust me, you don't wanna see part 5.  
>MARNIE: What's wrong with part 5?<br>JENNY: Every horror franchise has a bad egg. Although... you may need to see part 5 in order to understand part 7... you're a smart girl, I think you'll catch on.  
>MARNIE: And horror movies are stupid! I'm in the perfect position!<p>

Marnie does a "gosh golly" arm snap.

NILEY: I don't get it...  
>MARNIE: You don't need to. That's the beauty of it.<br>JENNY: I'm gonna put on part 1!

Jenny ducks down with an ear to ear smile, throwing the DVD into her player.

NILEY: (to Marnie) These are true stories, you know?

Marnie plays it off...

MARNIE: Oh really?  
>NILEY: This happened. For reals.<br>MARNIE: I think that's what true stories means...  
>JENNY: I already watched seven today and all of it's bonus features! Did you know, the alternate ending left open for the possibility of a sequel?<br>MARNIE: It doesn't do that already?  
>JENNY: Oh, you'll just have to see! Hopefully someone with enough sense revitalizes the franchise in a new, profound way and interest is generated.<br>NILEY: They should make a cute version, you know? Like with babies? And put it on the internet. And give them manly voices like, "I'M GONNA CUT YOU UP." Only nobody will be cut up because that would be horrifying because those are babies and that would probably make a lot of people cry even if it was fake. And - and - ANDDDDDD... the killer should be a - (giggles) the killer should be a kangaroo.

Marnie and Jenny just STARE.

JENNY: On that note!

Jenny grabs the remote and jumps on the couch between them.

JENNY: Let our own personal Stab-A-Thon begin!

CUT TO:  
>INT. CHARLIE'S KITCHEN - NIGHT<br>Charlie holds an all silver kitchen knife in his hand. It's giant. Massive. Very intimidating. Jill comes behind him, fixing it into a stabbing position in his palm.

JILL: Try it.

He holds it close... and raises it to strike down on a melon in front of them. He STABS IT with all his might. He raises the knife up and looks at his hand... it's bleeding.

CHARLIE: Shit.  
>JILL: Dangers of using a kitchen knife. You gotta hold a certain way in order not to let the backend cut the bottom of your hand.<p>

He looks at Jill... nearly about to cry.

JILL: Are you crying?

She LAUGHS. He walks towards the bathroom.

CHARLIE: Yeah, won't be doing that again.  
>JILL: Aw, Charlie, c'mon! Everyone's first time gets a little bloody! Hehe.<p>

* * *

><p>2.<br>CUT TO:  
>INT. OLIVIA'S ROOM - NIGHT<br>Olivia stands at her window, looking out towards Jill's room. Nobody's there. She looks around the neighborhood. Nobody's around. She grabs her phone and swiftly dials a number. The other end answers...

OLIVIA: Heyyyy. Listen... I was needing some help on something... think you can come over and help me with it?

She smiles devilishly...

CUT TO:  
>INT. JENNY'S LIVING ROOM - NIGHT<br>The three sit on the couch. Jenny and Niley clench on to one another. Marnie just... doesn't... get it.

GHOSTFACE: I'm gonna slice you up!

Jenny and Niley scream in unison, damn near making Marnie jump.

MARNIE: Okay, this is why I avoid movie theaters...  
>NILEY: How are you not scared?<br>MARNIE: Because this is stupid! We all know what's gonna happen ne -

A LOUD CRASH COMES FROM THE TV. Marnie jumps out of her skin. Jenny and Niley laugh at her and the irony.

MARNIE: Okay, whatever. That one thing got me. JUST ONE.

CUT TO:  
>INT. OLIVIA'S LIVING ROOM - NIGHT<br>The door bell rings. Olivia jogs down the stairs, wearing her most revealing but subtle outfit. She opens the door - ROY.

OLIVIA: Hey.  
>ROY: Hi. Where's that dresser?<br>OLIVIA: Up the stairs. It's SO heavy.

Roy jogs up the stairs. Olivia watches him go up... she slowly closes the door...

INT. OLIVIA'S ROOM - CONT'D  
>Roy enters and eyes the dresser. Olivia comes in behind him, shutting and locking the door.<p>

ROY: Where do you want it moved to?  
>OLIVIA: Uh... against that wall right there.<p>

He lifts it with ease and with one push, it goes against the other wall.

OLIVIA: Oh thank you, you're my savior.  
>ROY: No problem.<br>OLIVIA: I should repay you...

She comes close to him, touching his arms.

ROY: No, it was easy. I gotta get out of here though, if Niley finds out I'm here - -  
>OLIVIA: Who cares what she thinks? You and I can have a little fun... just us.<p>

Olivia leans forward. Her intentions MUCH more clear now. Roy's not biting though.

ROY: Olivia, can I ask you something?  
>OLIVIA: What's that?<br>ROY: ... why are you such a slut?

This totally shuts down her mojo.

OLIVIA: You can leave.  
>ROY: No, seriously. Why do you feel compelled to just sleep with every guy?<br>OLIVIA: Oh, is that what you thought I was trying to do? With you of all people? Yeah fucking right. Thanks and bye.

Roy grabs Olivia by the shoulders and sits her down at her bed.

ROY: Talk to me. This has to end.  
>OLIVIA: Don't touch me.<br>ROY: Help me understand.

Olivia's defense mechanisms shut down... and she lets herself just be free... just for a moment...

OLIVIA: I don't sleep with every guy.  
>ROY: Really?<br>OLIVIA: Yeah, that's a stretch.  
>ROY: Do you want to?<br>OLIVIA: Ofcourse not.  
>ROY: Then stop throwing yourself out there so much.<br>OLIVIA: I'm not doing anything.  
>ROY: Olivia, just listen to me for a second. You don't need this. You don't need a guy. You don't need sex to fill whatever void that is inside you. You don't need it.<p>

Her bottom lip shivers.

OLIVIA: I'm sorry.

She puts her head on his shoulder, beginning to cry.

ROY: Hey, it's gonna be okay.  
>OLIVIA: I just - - is there something wrong with me?<br>ROY: Noooo, no no. You're fine. I promise. A lot of girls go through it.  
>OLIVIA: Am I a slut?<br>ROY:... a little bit but you can fix that.  
>OLIVIA: I just want to feel loved and guys don't think I'm smart. They don't think I'm funny. They don't look at me for anything more than for my flesh and... make up.<br>ROY: You can change that. Only you have the power to fix your image.

Olivia lifts her head up, her make up running down her cheeks.

OLIVIA: This must be really attractive.  
>ROY: Actually it is.<br>OLIVIA: Huh?  
>ROY: It's the first time I've seen you just be you.<p>

Olivia sniffles, grabbing a napkin and fixing herself.

ROY: I believe you can do better than what you're doing to yourself. I believe in you.  
>OLIVIA: Thanks.<br>ROY: So what are you gonna do from now on? Every time you get that urge?  
>OLIVIA: Call you?<br>ROY: And I will help you through it.  
>OLIVIA: Thank you, Roy...<br>ROY:... wanna talk about it?  
>OLIVIA:... it's not my fault, you know...<br>ROY: What? What isn't?  
>OLIVIA: Do you remember about 2 years ago? Before we were all friends again?<br>ROY: Yeah.  
>OLIVIA: And how my parents were always fighting all the time?<br>ROY: Yeah, sure.  
>OLIVIA: My mom and dad fought because... I told her the truth.<br>ROY: What's the truth?  
>OLIVIA: My dad, he... he...<br>ROY: I get it, you don't have to... say anything, okay?  
>OLIVIA: Okay...<br>ROY: And she believed you?  
>OLIVIA: No... that's why they fought. It took her forever until one day, he got tired of fighting. And then he told her the truth... and he left.<br>ROY: Must've been hard.  
>OLIVIA: I just thought that once he was gone, my mom would be around for me. Ya know? But instead of trying to comfort me or tell me it'll be better now that he was gone, all she could do was avoid me. She's always gone, she can barely stand to look at me.<br>ROY: Why?  
>OLIVIA: She blames me... for why he's gone. (cries) It's my fault.<br>ROY: No, no, hey. Look, it wasn't your fault. Okay? You were young and defenseless. Right?  
>OLIVIA: Yeah. But she doesn't see it that way... she loved him more than me.<p>

Roy really feels for her... but at the same time, glad she's opening up to someone.

ROY: That's her mistake. She's missing out on a great girl.  
>OLIVIA: (smiles) Thanks, Roy. You're a lifesaver.<br>ROY: I'm always here for you. To talk. Or to... move your dresser.

She laughs.

OLIVIA: I wish I would've told somebody sooner, I feel so relieved.  
>ROY: (smiles) Slut-syndrome gone?<br>OLIVIA: (nods, laughing) Thank you. I really mean it.  
>ROY: Anything else I can help you with?<br>OLIVIA: No... I'm good.  
>ROY: Good. I'm gonna take off, 'k?<br>OLIVIA: 'k.

* * *

><p>3.<br>CUT TO:  
>INT. JILL'S ROOM - NIGHT<br>TITLE CARD: Wednesday... April 13th... 2011  
>Jill slowly wakes up from her sleep. She rises... her eyes cold as ever. She preps herself in a "today is the day" kinda way. And the slow motion montage begins...<p>

- Jill makes her way around the room. Around the bathroom. Fixing herself up for the day. Shower. Drying. Clothes. Make up. She stares in the mirror...  
>- The school comes into view. Happy students everywhere in the spring time. In the midst of them, Jenny and Marnie make their way into the school. Niley runs up behind them, giving them a big bear hug.<br>- Olivia meets Robbie outside the school. She teases him and he laughs along, going with it.  
>- Kirby and Jill arrive at the school. Jill looks on... her eyes piercing cold on everyone around her... her soon to be victims...<p>

INT. WOODSBORO HIGH - HALLWAYS - DAY  
>Olivia closes her locker. Shirley Mack stands next to her as they proceed to walk toward their first class of the day.<p>

SHIRLEY: So Richie keeps bugging me lately.  
>OLIVIA: Unfortunate.<br>SHIRLEY: No, I like him.  
>OLIVIA: Then go out with him.<br>SHIRLEY: Noooo, I don't wanna give up that easy.  
>OLIVIA: Shirley, don't play games. Okay? If you like him, just tell him.<br>SHIRLEY: (beat) That's not very-Olivia-Morris-like advice.  
>OLIVIA: New leaf. Boys aren't worth the trouble anymore.<br>SHIRLEY: So him and I, we should... date?  
>OLIVIA: If he asks you, yeah.<br>SHIRLEY: Wow... just like that, huh?  
>OLIVIA: It's quite simple. I think we were making it too hard on them before.<br>SHIRLEY: So, hey... swim finals are in a month. You gonna come watch?  
>OLIVIA: Ummm...<br>SHIRLEY: You left the team and the girls miss you. We all do. We could really use your support.  
>OLIVIA: I'll be there.<br>SHIRLEY: Thanks. We've been supportive of your new dorky friends, I think it's time you rally behind the Mermaids once again.  
>OLIVIA: Hey... they're not dorky.<br>SHIRLEY: Half of them are Cinema Club members, you kidding me?  
>OLIVIA: I'm a Cinema Club member.<br>SHIRLEY: You were converted. Too bad.  
>OLIVIA: They're my friends and you can either accept that like an adult or you can complain about it like a child.<br>SHIRLEY: Wow. Okay. Someone's trying to be all Mother Tresa.  
>OLIVIA: I'm just tired of games.<br>SHIRLEY: You know what? Don't come next month. We don't need you.

Shirley splits away from Olivia. Olivia stops in her tracks... it makes her angry... but she forgets about it. She turns around into Joseph, nearly knocking him over.

OLIVIA: Sorry, bro.  
>JOSEPH: It's okay. Hey, I'm gonna head up to dad's house tomorrow. I could use a passenger to come up with me.<br>OLIVIA: You know I'm not going there.

She walks off. He follows behind.

JOSEPH: When are you going to stop with this lie?  
>OLIVIA: Joseph, drop it. Not here.<br>JOSEPH: No, we're gonna talk about it because this is fucking stupid. We both know he never did a damn thing to you.  
>OLIVIA: What would you know? I said drop it!<br>JOSEPH: What, are you just jealous? That he spent more time on me? Did you want him to teach you to throw a football or play catch with you or something?  
>OLIVIA: NO, I told you to just forget it.<p>

Joseph spins Olivia around.

JOSEPH: This is our dad. He needs us right now. Forget Stab-A-Thon or whatever nonsense has you staying behind but he is our blood.  
>OLIVIA: He sure didn't treat me like it.<br>JOSEPH: You can lie to mom. But you can't lie to me.  
>OLIVIA: He admitted it, Joseph, why do think he left?<br>JOSEPH: Because he was tired of it!  
>OLIVIA: Why don't you believe me?<br>JOSEPH: Because that's our father!  
>OLIVIA: Sometimes, Joseph, blood isn't so thick.<br>JOSEPH: (beat) Whatever. I'll go alone. See ya.

Joseph walks off... and he's gone in the crowd. Olivia turns around and enters her class.

Roy turns around the corner. He spots Charlie at his locker and runs over.

ROY: What's up, man?  
>CHARLIE: You're not running off? That's new.<br>ROY: Ha. Funny. Hey, what's Jill's favorite color? Any ideas?

Jill rounds the bend. Kirby rounds the bend also and meets up with the gang.

KIRBY: Howdy, howdy. Roy? This is new.  
>JILL: Roy, what are you doing?<br>ROY: Is it really that surprising?  
>JILL: Shouldn't your tail be between your legs, high tailing it out of here before Niley sees you?<br>ROY: Oh no, Niley's cool with it now. Her and Robbie made up. Haven't you heard?

Jill smiles and pulls Roy away from the rest of the group. Charlie side eyes them the entire time.

JILL: Look, they can't know about us.  
>ROY: Then I won't say anything. And why?<br>JILL: Because with Sidney coming tomorrow and all that and if - - just it's a lot on my plate for all at once. Okay? They can bug me about you once she leaves but until than, I just need a tiny bit of space. Okay? They'll know just by our body language towards each other, they're fucking freaks like that. So the further you are away, for now, the better.  
>ROY: Alright. You got it.<br>JILL: Thank you. I'll see you later.  
>ROY: See ya.<br>JILL: Oh, one thing.  
>ROY: Yeah?<br>JILL: Give Niley some company tonight. Surely, you told her about you and I...  
>ROY: Surely.<br>JILL: Just make sure she doesn't go running off to anyone's house and telling them on accident or something. Okay?  
>ROY: A lot of work just for little ol' you.<br>JILL: (whispers) I'm worth it.  
>ROY: How should I keep her busy?<br>JILL: I don't know, you're smart and I'm sure you'll think of something.  
>ROY: Okay. Bye.<p>

Roy walks off and Jill returns to the group.

KIRBY: No kissy kissy? No lovey lovey?  
>JILL: Shut up, it's not like that.<br>TREVOR: That's right, because you're my girl?

Jill turns around. Trevor stands there now.

JILL: Go away.

Jill walks off and Trevor follows behind.

TREVOR: I'm sorry, Jill, c'mon, how long are you going to keep this up?  
>JILL: Forever.<p>

Jill enters into her class and shuts the door. He wedges it open with his foot.

TREVOR: Jill, come here.  
>JILL: I'm in class now, Trevor.<p>

He gets heated, knowing he can't really make his way in there without being kicked out. He bangs on the door.

TREVOR: I am sorry that I'm not PERFECT!

He shuts the door completely and walks away. As he goes, Kirby stands just behind.

KIRBY: Wow, you're sure angry.  
>TREVOR: Whatever.<p>

He doesn't stop to talk. Kirby then enters the class.

KIRBY: Psychoooo.

CUT TO:  
>INT. CINEMA CLUB - DAY<br>Cinema Club is let out. Robbie stays behind as everyone exits.

CHARLIE: You comin'?  
>ROBBIE: Go ahead.<p>

Nick slowly packs up his things. Robbie makes his way forward... this is his time...

ROBBIE: Hey Nick.  
>NICK: Robbie.<br>ROBBIE: Look, I just want to apologize for - -  
>NICK: Don't. Just forget it.<br>ROBBIE: Well I would like to make it up to you.  
>NICK: What?<br>ROBBIE: Well uh... can I come over tonight?  
>NICK: (smiles) What are you saying?<br>ROBBIE: I just... I just wanna make it up to you.  
>NICK: Okay... I'll text you my address.<br>ROBBIE: And I'll be there.  
>NICK: Okay...<br>ROBBIE: Okay. Good. Nice chat.

Robbie walks off. Nick seems a bit confused... but stoked at the same time.

* * *

><p>4.<br>CUT TO:  
>INT. JILL'S ROOM - DAY<br>Jill goes through her dresser, looking for something. She feverishly throws clothes out from it, looking for it. Kate knocks and opens the door.

KATE: Hi.  
>JILL: Hey.<br>KATE: What are you looking for?  
>JILL: Um... these old PJs I had.<br>KATE: They're in the hallway closet.  
>JILL: Oh... thanks.<br>KATE: Want dinner?  
>JILL: Actually, I'm gonna head in tonight. Big day tomorrow.<br>KATE: (smiles) It sure is. Not every day a celebrity comes to town. Nonetheless, one we know.  
>JILL: Ain't that the truth...<br>KATE: I hope you two get a lot of face time this visit. You could learn a thing or two from her...  
>JILL: I bet.<br>KATE: Well, goodnight.  
>JILL: 'night.<p>

Kate closes the door... Jill goes back to her dresser. And she notices a picture of Chelsea... she stops completely... and holds it just for a moment... the sadness overwhelming her...

JILL: I'm sorry we couldn't help you...

The bag of money lays just beneath her photo... she drops the photo and grabs the money... she now knows what to do with it...

CUT TO:  
>INT. CHELSEA'S DOORWAY - DAY<br>Chelsea's Mom opens the door. Jill stands there.

CHELSEA'S MOM: Hi Jill... uh?  
>JILL: Hi, um, sorry. I know it's random for me to turn up like this.<br>CHELSEA'S MOM: Can I help you with something?  
>JILL: Actually... I would like to help you.<br>CHELSEA'S MOM: What?  
>JILL: Well... a lot of us do, I mean. (digs into her purse) My friends... Chelsea's friends... we gathered up some donations and um, we're done now so... (pulls out the wad of money) here.<p>

She looks down at it and back up at Jill.

CHELSEA'S MOM: I can't.  
>JILL: We all know the debt Chelsea's night in LA more than two years ago put you through. This should more than take care of it now. She worked for awhile to pay it off, I'm sure you chipped in. Now you can... finish it and have a little something left over. All of Chelsea's friends put this together because we know how hard of a time it must've been...<br>CHELSEA'S MOM: (tears in her eyes) Jill, this is...  
>JILL: Just take it. Don't think about it. We loved her and therefore, we love you. And we just want to make sure everything is settled so you can be happy and move on. So you can finally save some money for yourself. She would've wanted it that way... please take it.<p>

She's reluctant... but she grabs hold of it. Jill steps back with a smile.

JILL: I hope this give you some closure.  
>CHELSEA'S MOM: You are just the sweetest person.<br>JILL: (beat) Have a good life. You deserve it. For her.  
>CHELSEA'S MOM: Thank you.<br>JILL: Bye.

Jill backs off and down the steps. Chelsea's mom looks down at the money... clutching it... it really is just what she needed...

FADE OUT...

"In Time" by Mark Collie begins. [youtube. com/watch?v=Los0g9Et7Ow]

FADE IN:  
>INT. CHARLIE'S ROOM - NIGHT<br>The entirity of the song plays over Jill and Charlie packing their bags full of material. Charlie unboxes the cameras from their shipment packaging. He grabs his Ghostface costume from his closet and places it in the bag. Jill holds her phone to her mouth, talking into it as the Ghostface app is on just to test it. Charlie places the set of knives into the bag and looks up at Jill. He's turned on just looking at her - but she pays him no mind. He walks over, rubbing her shoulders. She brushes him off and goes back to business. She looks at the list and timeline they're supposed to stick to, making revisions as she goes through it. He returns back to his bag, stuffing it all in just to make sure it's snug but also lightweight.

They both finish what they're doing and look at eachother in a "you ready for this" type of way. Jill nods. And then he nods. They both exit the room and down the stairs. And make their way to Charlie's car. He jumps into the driver seat. Her into the passenger. He turns the ignition... and then they drive off into the night...

FADE OUT.

* * *

><p>5.<br>FADE IN:  
>INT.<br>JENNY'S  
>LIVING<br>ROOM  
>- NIGHT<p>

Jenny and Marnie sit on the couch. Stab 6 now ending. Marnie is less than impressed but Jenny is fully glee.

MARNIE: These sequels really went to shit.  
>JENNY: Part 7 is way better, I promise...<br>MARNIE: You're promising, I just want you to remember that...

EXT. JENNY'S BACKYARD - CONT'D  
>We now view the conversation from outside. Jill and Charlie watch them from the window, now dressed in their cloaks but maskless. Charlie nearly shakes from anticipation... Jill is stone faced. DETERMINED. READY.<p>

CHARLIE: (containing his excitement) You ready?  
>JILL: (scowls forward) You have no idea.<p>

They watch Jenny get up and go toward the the DVD player to put in another movie.

CHARLIE: How we gonna do this?  
>JILL: Play it by ear.<br>CHARLIE: Well we gotta make a phone call...  
>JILL: You think I don't know that?<p>

Charlie looks behind him at the backyard. It's an eerie quiet... for all the shit storm they're about to kick up.

CHARLIE: Well how the hell we supposed to get Marnie out here so we can tie her up?  
>JILL: We don't. We set up the crime scene to look a certain way. We don't recreate the scene.<br>CHARLIE: But that's how a remake works.  
>JILL: Not everything can be exact, Mr. Hollywood.<p>

Jenny looks up toward the ceiling.

CHARLIE: What is she doing?  
>JILL: She's going upstairs. (beat) This is it. Marnie's alone.<br>CHARLIE: This is it?  
>JILL: Grab her. The ruckus will set Jenny back down stairs. I'll leave her house phone behind and call it. She'll answer and I'll talk to her, keep her busy while you set up for the first scare.<br>CHARLIE: And then what?

Jill slowly turns her head toward Charlie. The soundtrack thuds.

JILL: Goldie locks gets what's coming to her. (beat) Finally.

They watch Marnie pick up the phone.

JILL: Go. NOW.

Charlie pauses for a moment... takes a deep breath... and slips the mask over his face. He crouches down and enters in through a side door. Jill slowly throws the mask over her face as well... watching... the webcam in her mask and she angles it perfectly. She tries to walk in around on the otherside.

Marnie has the phone to her ear, talking into it. And Jill watches... as Charlie sneaks up on her... AND ATTACK. He grabs her by the throat and PULLS HER DOWN. The phone DROPS. Jill watches from behind the window as Charlie PLUNGES the knife into Marnie's stomach. He pulls her body out the door and flicks the light switch as he exits.

Jill watches Jenny come down the stairs and pick up the phone. She moseys around, as if she's looking for Marnie. Charlie drags Marnie over near a glass window... she's still breathing. Jill then takes Marnie's phone and quickly dials the house number. She walks out of view and Jenny answers.

Marnie looks up at Charlie, dazed by what's happening. Woozy and losing blood by the second, unable to fully grasp what's happening. The Ghostface mask comes into view... and her eyes turn frightened.

MARNIE: You're - not - real.

Charlie grabs her and picks her up to a stand. Her head droops down, barely able to lift it. He looks up at Jill... and she gives him the signal. Charlie lifts Marnie up, nice and strong... AND THROWS HER THREW THE WINDOW LANDING IN FRONT OF JENNY. Jill turns the corner and quickly goes after. Jenny RUNS OFF.

Charlie stays behind and catches a shot of Jill in pursuit. He watches until they make their way up the stairs. He looks back down at Marnie... barely breathing. He GRABS HER BY THE ARM AND PULLS HER FORWARD.

INT. JENNY'S GARAGE - CONT'D  
>Jenny tumbles and rolls down the steps as Jill follows behind. She hits the floor, flat - - her first instinct is jump up and crawl but her legs fail her. It's clear now she has a big bloody stab into her back, right on the spine. Jenny uses her hands to move forward, the only thing fully capable of mobilizing her anywhere.<p>

Jill watches Jenny scrape up and across the garage to the rising door. It's all too familiar... Jill looks at the garage door opener. It's almost too perfect of a coincidence. She presses down and watches the heavy door smash into Jenny's already injured spine.

Jenny cries out and her arms go weak. Jill steps forward and GRABS onto Jenny's legs and PULLS her bag in with force. This is it... this is the moment... she's been waiting for this for months... it's time. Jill raises her blade and Jenny looks the Ghostface mask dead in the eyes as if she stared long enough she'd be able to see through the cloth at her attacker. Crying, afraid and weak, Jenny lets out a final scream with hope long gone out the window...

Jill SLICES DOWN - - ! JENNY PULLS OFF THE MASK in a THINK FAST moment. Jill's arm stops INCHES AWAY FROM JENNY'S SKULL. Jenny's eyes go wide in absolute disbelief...

JENNY: No...

JILL FREEZES. FUCK. SHE PUNCHES JENNY across the face, knocking her out. She sighs, pissed her mask could be taken off so easy. She grabs it and stuffs it in her cloak then focuses back on Jenny...

INT. JENNY'S LIVING ROOM - CONT'D  
>Charlie sets up a chair near the wall and drags Marnie's lifeless body over. Thud, thud, thud. He looks over to the garage door. Thud, thud, thud. Jill comes out the door backwards and DRAGS OUT Jenny's incapacitated one. He notices right away she's still breathing.<p>

CHARLIE: You didn't kill her?  
>JILL: (beat) No... not yet...<p>

SMASH TO BLACK.

* * *

><p>Moments later...<p>

"Safehouse/Ambush"[youtube. com/watch?v=WZHZWhKNO40] begins to play...

6.  
>INT. JENNY'S LIVING ROOM<br>Jenny comes to. She looks around in a haze and realizes she's standing... but higher than usual. A blurry face comes into the center of her sight just below her... and focuses in. It's Jill. Mask off.

JILL: Welcome back, princess.

(0:18) JENNY STRUGGLES and realizes she can't move. Her arms tied behind her back, feet closed together... and a noose around her neck. A chair sits beneath her holding her up. She looks to her side - - MARNIE'S GUTTED IN THE CHAIR. SHE SCREAMS.

JILL: Hey. HEY!

Jill STABS JENNY in the kneecap.

JILL: Stop fucking screaming!

(0:30) Jenny forces her mouth closed and whimpers like a dog, trying her best to block the pain.

JILL: Look at you. It's a shame, really. We could've stayed such good friends. BFFs, besties, whatever the hell they're calling it these days.  
>JENNY: I'm sorry, Jill, I'm so sorry.<br>JILL: No... you're not. Sorry? You don't know the first thing about "sorry." Not yet anyway. "Sorry" would've stopped you from fucking my boyfriend. "SORRY" would've stopped you from continuing to fuck my boyfriend. "SORRY" would've stopped you from tearing us apart and then being his girlfriend. (beat) "Sorry," Jenny? It's TOO LATE for "SORRY."  
>JENNY: I'll do anything you want, I won't tell anyone! I will leave, I'll never come back, I'll never talk to Trevor again. I swear to God, please! Please!<br>JILL: Aw... I - almost - feel - bad.  
>JENNY: I won't say what happened to Marnie. I'll just go, I swear!<br>JILL: Would leaving take back what you did to me? Would it fix the pain I've gone through?  
>JENNY: (shuts her eyes tight) No.<br>JILL: Then why would I take you up on that? How can I even trust you, even if I did let you go? You're not exactly trustworthy. Are you?

(1:25) Jenny looks down at Jill, every ounce of regret pouring out of her.

JILL: Answer me!  
>JENNY: I'm trustworthy, I just - I just had a... moment of bad judgment.<br>JILL: So you are aware you're a piece of shit man stealer? Good, now we're on the same page. Maybe you can empathize.  
>JENNY: I would never do this to you, never in a million years, no matter what you did to me. This is fucking crazy, who does this over a stupid fucking high school relationship? !<br>JILL: Jenny... how ignorant of you. Entire wars, hundreds of thousands of men used to be caught in the middle over kings who - want just one pussy. And yet, I can't kill you for stealing one dick from me?  
>JENNY: (beat) What are you gonna do?<p>

(1:55) Jill smiles... devilishly. THE MUSIC RISES.

JILL: You know what's funny? How PERFECT this all is. Do you know what you and Casey Becker have in common? Do you? Casey stole Steven Orth from some cheerleader. And cheated on Stu with Steve. Funny, right? Only problem is, you're no longer with Trevor so I had to substitute my Steven Orth with Marnie the Carnie over there.  
>JENNY: What does this have to do with Casey Becker?<br>JILL: Why Jenny... EVERYTHING. You see, I already informed you of our little Stab remake. And guess who's shoes your filling?

(2:30) JILL KICKS THE CHAIR FROM BENEATH JENNY'S FEET and she DROPS below. Her body struggles back and forth, swinging in the air. Jill looks at her like a wounded dog.

JILL: (sighs) This is just - sad now.

She takes the blade and DIGS IT INTO JENNY'S ABDOMEN. Jenny's eyes go wider than they could possibly go... and Jill doesn't miss a single second of it to see every tear fall from her face.

JILL: Goodbye Jenny. Friend.

SHE SLIDES THE BLADE ACROSS HER STOMACH and steps away watching her GUTS SPILL TO THE FLOOR. Jenny's movement ceases, other than her body swinging back and forth. And just like that, Jenny's gone.

Charlie enters from behind and leans on the wall. He clicks off the webcam in his mask as he takes it off.

CHARLIE: Was all that necessary?  
>JILL: (beat) I wanted her to know...<br>CHARLIE: That's why Bond villains never get away with it. Too much monologu-ing.  
>JILL: I got it out of my system now. Let's finish up here.<p>

Jill walks around Jenny's hallowed out body to behind her and cuts her hands free along with her feet. Charlie moves around the room, fixing the room back up to look nice.

JUMP FORWARD:  
>Charlie and Jill head to the front door. Charlie stops.<p>

CHARLIE: Wait. I have an idea.

JUMP FORWARD:  
>Jill watches Charlie from across the room... Charlie steps away from the wall with a grin on his face. He looks to Jill for her approval.<p>

CHARLIE: What do you think?  
>JILL: "What's your favorite scary movie?"<br>CHARLIE: Sends a message. Ghostface is back.  
>JILL: (beat) No... Ghostface Begins.<p>

DOLLY OUT as the MUSIC RISES from behind Jill and Charlie looking at the scene they caused. Marnie in the chair, her head slumped over with her insides pulled out and stretched across the room. Jenny hanging from the ceiling, her arms and legs swaying with entrails sliding down her leg. "What's your favorite scary movie?" painted in blood stretching across the wall.

It's a masterpiece.

**SMASH TO BLACK.**

* * *

><p><strong>THE - END - IS - HERE.<strong>

**THIS - IS - IT**.

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	34. Tentative Series Finale CAST LIST

**Starring:***  
>Emma RobertsJill Roberts  
>Rory CulkinCharlie Walker  
>Ariana GrandeNiley Krinkey  
>Hayden PanettiereKirbiline 'Kirby' Reed  
>Brandon SmithRoy Popper  
>Marielle JaffeOlivia Morris  
>Erik KnudsonRobbie Mercer  
>Brittany RobertsonMarnie Cooper  
>Aimee TeegardenJenny Randall  
>Nico TortorellaTrevor Sheldon  
>with<br>David Arquette/Sheriff Dwight 'Dewey' Riley  
>Courtney CoxGale Weathers-Riley  
>and<br>Neve Campbell/Sidney Prescott

**Also Starring:**  
>Anthony AndersonDeputy Perkins  
>Adam BrodyDeputy Hoss  
>Willa HollandChelsea Saure  
>Marley SheltonDeputy Hicks  
>with<br>Ian Somerhalder/Mr. Leeds  
>and<br>Mary McDonnel/Kate Roberts

**Special Guest Starring:**  
>Alison BrieRebecca Walters  
>Kyle ChandlerChief Dillinger  
>Sarah Michelle GellarCici Cooper  
>Josh HutchersonPrichard Tin  
>Ellen WongStephie Chan  
>with<br>Dane Farwell/Ghostface (stunts)  
>and<br>Roger Jackson/Ghostface (voice)

**Guest Starring:**  
>Jimmy BennetLouis Hobbs  
>Justin BrandtWill Scanton****  
>Emily BrowningChantelle Moreno  
>Chase EllisonLeo Trinn  
>Selena GomezAmanda  
>Olivia "Chachi" GonzalesSolai Romano**  
>Debby RyanKatherine Malefecint  
>Sarah HylandTess Martin  
>Callan McAuliffeJoseph Morris  
>Jesse PlemonsNick Zahn  
>Tania RaymondeMayra Sashe  
>AnnaSophia RobbEsline Grotto  
>Ashley TisdaleTaylor  
>Bella ThorneShirley Mack  
>Hayley WilliamsLynn***  
>and<br>Jeremy Allen White/Topher Yates

* The cast list is for the series finale episode and also represents a good majority of the entire series.  
>** "Chachi" is a member of the dance crew, I aM mE. Her group won season 5's MTV &amp; Randy Jackson's America's Best Dance Crew competition.<br>*** Hayley Williams is the lead singer of popular rock group, Paramore.  
>**** Justin Brandt is a reoccuring extra in Scream 4, repurposed as a character within the show. He can be seen talking to Robbie before school when Robbie is showing off his new headset, and he can be seen talking to Robbie in the hall just before Robbie asks Trevor, "what's your favorite scary movie?"<p>

The cast list is subject to change if improvements, substitutions, deletions or extensions are added to the script between this moment and when the episode(s) are posted. This list will be updated as often as possible.

* * *

><p><strong>THE - END - IS - HERE.<strong>

**310 reviews** to begin the FOUR PART SERIES FINALE.  
><strong>318<strong> for PART 2  
><strong>328<strong> for PART 3  
><strong>340<strong> for PART 4, "Jill's America."

Don't forget to send in your questions for the **Q&A!**  
>Be sure to tell <strong>ALL YOUR FRIENDS<strong>. Tell them to start reading. Tell them to catch up! Get them to review! **THIS - IS - IT**.

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	35. Marnie's Blog: Entry 420

#420  
>[Wednesday, April 13th, 2011]<br>Memorial week in Woodsboro. It's times like these I miss going to Breckin High. Everyone here is so obsessed with the Stab movies. I've never seen one but my friend is a big fan apparently. I promised her last year we'd watch them since she can no longer go to Stab-A-Thon. So far we've watched 1 - 3. Stab 7 was just released yesterday on DVD so I guess I'm in for another night of dumb as rocks movies. 3 more to go (we're skipping part 5).

She's already seen them all at least a dozen times, plus this latest one at least 4 times in the theater she works at... so why must I be subjected to this kind of torture? Oh, that's right, because I'm a good friend. Blessing and a curse rolled into one. Oh well, I only have to deal with this kinda stuff for another couple days. Might as well put up with it and let her have her way before I go.

My mom never let me see the movies. She'd KILL me if she knew I was watching them. since my cousin was apart of the Windsor Massacre. I don't tell many people that, I just get bombarded with questions. Before any of you ask, no, I didn't know Cici all that well. I barely even remember that time of my life since I was like, I don't know, 3 years old! I would try to explain that to her but I know she'd be heartbroken. Her scene in Stab 2 was a little uncomfortable to sit through, especially with Jenny and Niley cheering Ghostface on throughout. I love my friends but that was a little too much for me...

Can't wait to get out of here so I can see all my Breckin High buddies again. I'll see you guys next week. FINALLY! :) And another special someone I can't wait to see either ;)

4:12 PM


	36. Jill's Kill List: Version 03

[Verse 3]  
>So after a year and 6 months it's no longer me that you want<br>But I love you so much it hurts  
>Never mistreated you once<br>I poured my heart out to you  
>Let down my guard, swear to God<br>I'll blow my brains in your lap  
>Lay here and die in your arms<br>Drop to my knees and I'm pleading  
>I'm trying to stop you from leaving<br>You won't even listen so fuck it  
>I'm trying to stop you from breathing<br>I put both hands on your throat  
>I sit on top of you squeezing<br>'Til I snap you neck like a popsicle stick  
>Ain't no possible reason I could think of to let you walk up out this house<br>And let you live  
>Tears stream down both of my cheeks<br>Then I let you go and just give  
>And before I put that gun to my temple<br>I told you this:

And I would've done anything for you  
>To show you how much I adored you<br>But it's over now  
>It's too late to save our love<br>Just promise me you'll think of me every time you look up in the sky and see a star 'cause I'm a...

I'm a space bound rocket ship and your heart's the moon  
>And I'm aiming right at you<br>Right at you  
>250 thousand miles on a clear night in June<br>And I'm so lost without you  
>Without you<br>Without you

KILL LIST:  
>MARNIE COOPER (wrong place, wrong time babydoll. ya shouldve known better than to make friends with a whore. or is that better than me? what was it you were calling me on the internet? a psycho slut. for a smart girl, that was a little too easy to decipher. no sympathy.)<br>JENNY RANDALL (Stupid bitch, you got what was coming to you. Glad to be rid of you. The end.)  
>TREVOR SHELDON (i wanna rip your balls off with my bare hands. i probably wont have time for that though. pity. no worries, you won't be needing them anymore. "and i'm aiming right at you.")<br>OLIVIA MORRIS (you really thought you could get away with all the shit you've been getting away with, didn't ya bitch? newsflash: time to spill your dirty secrets all across this town along with your insides. we were never real friends anyway.)  
>SIDNEY PRESCOTT (oh, how i admire your modesty of fame. ya should be more grateful. it won't last too much longer. prepare to pass the torch.)<br>MOTHER (i spare no expenses. it wouldn't be complete without you. not like you were a saint anyway)  
>ROBBIE MERCER (should've listened to me, Robbie. unfortunately for you, i'm a girl who lives up to her promises. hall pass, this just in: robbie mercer is going to DIE)<br>KIRBY REED (my sweet best friend. you were so loyal. honestly, i cant do it myself. but you gotta go. wish i could bring ya with me on this journey. but there's only room for one ingenue. it's only right though. soon, you'll be with prichard. consider it a favor.)  
>EVERYONE ELSE IN THE WAY (you're part of a bigger plan. feel HONORED)<p> 


	37. More of Robbie's Status Updates

Robbie Mercer and Niley Krinkey are now friends.  
>3 likes.<br>2 Comments:  
>Jill Roberts: Uh, what's this?<br>Roy Popper: Shocker!

Why can't I just admit the truth?  
>Mood: Depressed. Olivia Morris likes this.<p>

The Third Annual Stab-A-Thon details will be sent out either tomorrow or the day of. Stay posted and be sure to check your emails, texts, and all other devices!  
>Mood: STOKED! 89 likes.<br>7 Comments:  
>Will Scanton: YESSS! I've been waiting for this!<br>Jenny Randall: I'm watching them all right now with Marnie!  
>Kirbiline Reed: This is gonna be better than your last lame event, right?<br>Robbie Mercer: NOES marathon was not LAME!  
>Kirbiline Reed: Haha, yes it was. Whatever happened to Freddy anyway? He never updates his facebook anymore.<br>Chantelle Moreno: I want a seat in the front row!  
>Stephie Chan: Too bad I won't be able to see it... ;)<p>

Wake up for class. Get ready for class. Eat before class. Finish last minute homework for class. Rush to class. Be late to class. Get to class. Teacher isn't even there yet - _ -  
>Mood: C'MON. 7 likes.<p>

Time to step up. Will anyone be surprised?  
>Mood: Nervous. 3 likes.<br>5 comments:  
>Chantelle Moreno: Your mom.<br>Kirbiline Reed: Your mom.  
>Stephie Chan: Your mom.<br>Will Scanton: Your mom.  
>Robbie Mercer: Okay, wtf? lol<p>

"Hall Pass with Robbie Mercer" is about to go MOBILE and LIVE at the same time! 2.0 baby, 2.0.  
>Mood: Inventive. 21 likes.<br>12 comments:  
>Charlie Walker: wtf? How's that even possible?<br>Roy Popper: Uhhhh... Robbie must've borrowed Doc Brown's Deloreon. Shit doesn't exist in 2011! (3 likes)  
>Kirbiline Reed: Oh yay. More annoying questions from my favorite TMZ wannabe. - _ - (2 likes)<br>Will Scanton: I gotta see this!  
>Robbie Mercer: Will, you'll totally love it! I'll show you before school tomorrow.<br>Nick Zahn: Perhaps people will see you ignore me in real time now, won't they?  
>Roy Popper: ^ AWKWAAAAARD, buahahahahaha.<br>Kirbiline Reed: BUSTED! lmao  
>Olivia Morris: Robbie, y u no like the gay boy?<br>Jill Roberts: Mobile and live, eh? Since when was that in the budget? Hehe.  
>Robbie Mercer: Nick, I don't know what u're talking about. Jill, you ready for your close up?<br>Jill Roberts: You have NO idea ;)

* * *

><p><strong>THE - END - IS - HERE... or, it will be soon haha.<strong>

Thanks for hitting the amount of reviews earlier than expected... but there's still about 3 more inbetween chapters that need to be posted that'll need some review loving as well! So here's the new reviews needed count:

**330 reviews** to begin the FOUR PART SERIES FINALE.  
><strong>345<strong> for PART 2  
><strong>362<strong> for PART 3  
><strong>380<strong> for PART 4, "Jill's America."

Don't forget to send in your questions for the **Q&A!**  
>Be sure to tell <strong>ALL YOUR FRIENDS<strong>. Tell them to start reading. Tell them to catch up! Get them to review! **THIS - IS - IT**.

And if you haven't already, join the "**Scream Fanfiction**" Facebook page for discussions on the Scream films! Updates on various fanfictions! Promote your own fanfic! Learn of new Scream stories almost on a daily basis! Communicate with your colleagues, your favorite authors and your fans!  
>facebook. compages/Scream-Fanfiction/189516767780943

And put this story on your **story alerts** and your **favorites**! Don't forget to put me as a **favorite author** or on your **author alerts**!


	38. Top Best and Worst Episodes by R Tech

"The Top Best and Worst Episodes"  
>by<br>R. Tech

We're coming to the end of the third and final season, sadly. However, this is the perfect opportunity to reflect on what episodes will stand out in our minds once this epic has finished. The four part series finale is next and as sure as I am that'll hit this list (along with the pre-series finale, which had a brilliant ending, but for the sake of keeping things fair, I won't include it), I'd still like to go ahead and do this anyway and to also start up some discussion. So first, let's take a look at the episodes that were close to making the list, but not quite.

6 Honorable Mentions:  
><strong>Pilot (Season 1, Episode 1)<strong> - It was the beginning and we get introduced to Roy and Niley. Well, for those who've read Scream 5 & 6, not so much but for the others new to the show, this was a good introductory episode. Looking back on it now, things were so shiny and happy and everyone was so innocent. Season 3? No freakin' way. Dark, violent, brooding and completely insane. The show's taken a complete 180 since than.

**Secrets (Season 2, Episode 5)** - Although this is the start of where episodes starting being in summary form, the very idea of this episode had quite a lot going on with it. We learn the truth about Jill's mother and then ofcourse, her nail in the coffin, not telling Jill about her father's suicide. Just those elements alone were enough to be a very intriguing episode but also thrown in is Robbie joining the dance club, which ultimately ends his and Niley's relationship.

**Winter Formal (Season 2, Episode 7)** - There is a crap load going on in this episode. We get a showdown between Gale and Niley and then Dewey finally busts Andy - - with a gimp, one of the funniest moments on the show. This is also the start of Robbie's "romance" with Solai since he skips out on Winter Formal so he can practice more. We also get a bit of Kirby and Roy romance but it ends quickly once Chelsea has her baby, which she admitted to Kirby in one of the most mature moments of the show in the episode prior, but unfortunately it's stillborn which is one of the most tearjerking scenes ever. Everything caps off nicely with Niley going fucking bonkers and burning down Andy's house for her suspicions that he killed Squirrely. It would've definitely hit the list if it was fully written.

**Cabin Fever (Season 2, Episode 11)** - In the most sexually charged episode, the kids head off to Colorado for Stab-a-Thon at a cabin. So what madness ensues? Yeesh... I would feel too dirty to even write it. However, this is where a good majority of the seeds for the season 2 finale are planted. Roy accidentally tells Trevor how to cheat, Charlie perfectly predicts how the Robbie situation will tear the group apart and Jill runs back into her ex, Patrick, which apparently results in her to get um... aroused enough to want to lose her virginity to Trevor after. Brilliant episode... just also... very, very, VERY dirty. I had to take a shower after that one.

**Street Lights (Season 3, Episode 3)** - My favorite opening puzzle piece with Niley discovering Marnie and Jenny's bodies, Street Lights is the undeniable beginning of the end with Trevor breaking up with Jill in the most crushing moment of the entire series that was so perfectly well written and really entered the psyche of what a break up could be like. In one of the episodes shining moments, Kirby cleans Jill off like a true friend while talking about how desensitized they've all become after death has been around them, which totally adds a new way to look at Scream 4 when they're just walking around like Jenny, Marnie and Olivia's deaths mean nothing. Not to give too many props to D, but that little aspect truly helps out one of the many areas Scream 4 was lacking in, especially since the first Scream found a way even through all the chaos to show remorse for it's fallen characters. Niley then practically guilt trips Jenny and Marnie to be friends with her IN the episode, a great way to really show the literal beginning and end of a friendship. Finishing off with the title episode's song, Jill sees first hand Trevor kissing Jenny while the lyrics echo out, "life's just not fair, life's just not fair." It's one of the most brilliantly written episodes, it's just unfortunate not a whole lot occurs in it or else this would've landed on the list.

**Dancing in a Burning Room (Season 3, Episode 8)** - Practically every episode from this point and on should make the list. This is the jump off point for Jill's crazy switch being flipped and pushed all the way into full throttle. We also get a tease of a Roy and Jill romance, something I honestly didn't see coming and it made perfect sense to fit in with the irony of the story (Roy is the only one who can save Jill but just as that could happen, she becomes a lost cause). But everything about this episode is great. The opening puzzle piece starts off exciting. The Kirby-Charlie starts up again in a cute kitchen scene. Then there's the montage to "Wouldn't It Be Nice" while Jenny finally gets her dream come true to be able to show off Trevor to everyone. On the flipside of the coin, it solidifies everything Jill feared. And not to sound too anti-Tess, but this is when she was finally taken out of the freakin' show for good. Everyone hated Tess. Her character never developed passed being a bi-polar nut who made Roy's life a living hell. Her role was supposed to be much more profound but I think keeping it this simple was a good choice because her departing felt so great when it happened. And then the totally insane freakout Jill has in the end with the entire room burning when she sees Trevor with Olivia. Sirens go off. The show blew up and went on a rampage from this moment forward."

TOP 10

**10. Seven Devils: Part 2 (Season 3: Episode 13)** - I'd include "You Are A Cinema: Part 1" but it moved too quickly for my tastes. However, I will mention the end while the song plays and Charlie falls in love with Jill as she's killing Freddy. It's beautiful... in a sick and twisted kind of way. Then she throws him off a fucking roof to put him in the hospital so they can get closer to their soon-to-be victim. It truly shows Jill's brilliant planning and manipulation skills, especially when she convinces Charlie that he enjoyed helping kill Freddy. She then sets him on his meds so he can "Hulk out" and he goes off to kill that "coma guy" once and for all. Then one of the most mind bending moments of the episode, Jill finds her own dead body in the hole she was buried in almost a year earlier. One could come up with a lot of theories as to why that is and for the first time, Woodsboro High offers up it's one and only mystical happening/mystery, "so is she alive or is she dead and if she's alive, what's in the grave and if she's dead, how is this all happening? !" Yeah, my head hurts too. I try not to think about it... but it's just too damn mistifying. It could be real, or fantasy, or a metaphor, or maybe the scene didn't even happen, or maybe it's a dream, or maybe it was someone else who looked like her showing that dead girls are still buried there all the time, or maybe Jill only imagined that the incident with Patrick happened last year (that's my favorite theory), or maybe she's at the wrong grave, or maybe the wrong woods entirely, or maybe it's Charlie's imagination, or maybe it's Freddy's "nightmare." There's a logical explanation, but I think D is having too much fun seeing people scratch their heads trying to figure it out to give the answer away. "I was dead once too," is probably my all time favorite Jill quote.

**9. Another One Bites The Dust (Season 1, Episode 15)** - This episode hits the list because of the jaw dropping ending with Patrick trying to rape Jill and admitting he wants Jenny also, which is the beginning of the fuel for Jill's hatred towards Jenny. Forget about Gale's guest appearance & the conception of Stab-A-Thon, the final 2 scenes were so perfect in understanding the beginning of Jill as a killer. The last scene with her talking to Jenny while bruised, bloody and in the darkness had readers in this for Jill's turn to the dark side finally go, "now we're getting somewhere!"

**8. Boyfriend Number 1 (Season 1, Episode 4)** - Jill gets her first boyfriend (& later on Season 2's crazy ex and Season 3's boytoy, Cory), Kirby figures out who's spreading lesbian rumors about her, Robbie and Niley share their first kiss, Roy and Kirby spend their first alone time together playing soccer and Olivia pisses Jill off enough to the point where she has her first flip out. I think this was honestly the point where I fell in love with the show. Before, events kinda just occurred but this is where a story started to formulate. It was hilarious, engaging and even had a "whoa!" moment at the end with Jill smashing shit around. Brilliant.

**7. Pathetique: Part 1 & 2 (Season 3, Episode 4 & 5**) - Starting off with one of the most hilarious conversations the show's ever had, Kirby and Olivia discuss Stab 5 and it's lesbian themes which is perfect foreshadowing into Kirby's eventual bisexual experimental flings. Taking a more interesting route in storytelling, the majority of the 2 part episode revolves around flashbacks being told by Jill, Roy and Jenny. This is also the epic moment Jill first puts on the Ghostface costume to do some sneaking around and terrorizing to Jenny and it explains one of the mysteries as to why she thought it was Trevor was messing with her on the phone in the beginning of Scream 4.

**6. Rat in a Cage (Season 2, Episode 1)** - Starting off with the opening scene that flash forwards to who we don't know is Patrick on a stretcher on prom night, season 2 got off to a great and emotional start. Extending the only plot that advanced from season 1's finale, we witness the birth of Kirby's change after Prichard's death and Chelsea trying to hide the fact she's pregnant with his baby. And who can forget Marnie joining the main cast and ofcourse, Jill's first time meeting Trevor? There's also some great Roy talking to Marnie and Kirby scenes, as well as Olivia's new friendship with the rest of the gang. It ends with the uber creepy next door neighbor of Robbie's, Andy, luring in kids to his house; a plot development we later learn has to do more with Mr. Leeds than Andy himself.

**5. This is Halloween (Season 1, Episode 9)** - At the time, Freddy killing Chelsea in the short film showed at the beginning was kinda silly. Now, in retrospect, the fact that Freddy is apart of the murderous duo in season 3 seems totally fitting. Other than that, we get some really great drama this episode with the intense car crash which ultimately results in Niley losing her memory and shows off Roy's heroic attitude. Also, one of the main reasons Jill will eventually want to kill Olivia being that Olivia reveals to the entire school that Jill is related to Sidney. This also results to Jill taking out the bra stuffing in Olivia's bra the next episode which is great but doesn't have enough events to be included on this list.

**4. Bloodlines (Season 1, Episode 19)** - In my opinion, better than the season finale, "Bulletproof," this episode gave readers the chance to finally see Jill and Sidney interact. It's also the beginning of where we learn that Kate is the crazy one and not Jill's father. Another plus is the surprise ending where the shooter kills the Prom Leader and had everyone's jaws to the floor with WH's first outright violent scene but unfortunately, the build was better than the action packed but not enough plot development finale.

**3. Blue Moon (Season 3, Episode 11)** - An entirely Jill and Charlie episode (they're the only two characters to speak in the story's present, aside from the opening puzzle piece and a flashback). Surely, this is what fans of the show were waiting for and it did not disappoint. The slow seduction from the first episode of the season to now finally comes to a climax (no pun intended) when Jill coerces Charlie into helping her by lending out sexual favors. It really puts us into Charlie's mind set and motives into the entire thing. It also helps us clue in to how Charlie reacts to his meds a bit more and we also get to see his own advice for Roy being used on Jill for his sticky situation ("if they're crazy, just act even crazier right back"). The final moments are by far the most disturbing of the entire series, with a dead person just brutally murdered in the room while they have passionate sex for the first time on the stairs. Consider my jaw officially on the floor for that one.

**2. Back to Black: Part 1 & 2 (Season 3, Episode 9 & 10)** - This double part episode was the single most insane thing I had ever read. It rivals "Monster" on chaos in a single episode. Jill's kills in experimenting how to murder people in a timely manner were jaw droppingly shocking. This is the point the show became so twisted that it almost felt wrong to be reading further. The material is depraved and immoral. The warning at the beginning of the chapter is there with well reason as there were times that even I didn't know if I could keep reading because I'd get this horrible feeling in my gut. It was DISTURBING but in a good way. It never crossed any weird "Human Centipede" boundaries or anything. It was good, ol' fashioned built up angst being let loose. My favorite scene is when Jill murders the Bank Teller. It was kind of nature's way of saying, "not every kill is going to be easy." Which probably put things in perspective for Jill into realizing she may need some help (ahem, Charlie). The scene was intense and suspensful, and the way it ends is even more eye opening. One of the best written scenes EVER.

**1. MONSTER (Season 2, Episode 16) -** One of the few episodes that left me shaking after reading, Monster was a slow burn that blew up in it's middle 2 parts and was absolutely insane even after the dust settled (fly landing on Jill's eyeball with the Psycho quoute = creepy). But what I loved most was how everything the previous seasons had set up came to a explosive clash in such an epic way that I still can't even understand how it was organized. The drama was at an all time high (I still get teary eyed for Niley when Robbie finally admits the truth), the horror finally came to the forefront (Jill's first kills are gritty, brutal, heartbreaking and shocking all rolled in one), and the surprises were left and right (Chelsea killing Katherine nearly made me shit my pants when she took off the mask). If there's one single episode that stands out as this show's high point, it was definitely this.

On the flip side, here's a few episodes I DIDN'T care about:  
><strong>An Education (Season 1, Episode 5)<strong> There's some funny bits here but ultimately, it feels like a useless episode when seen in the grand scheme of things. I dig the scene first introducing Dr. Pryce. I dig the scene with Niley trying to tell people about the kiss with Robbie. I even dig Roy's story about how he saw Stephie and Kirby being all lesbian-ish together. But does any of it really matter, like, 5 episodes later? I'm more of a fan of the episodes with big impact, if you can tell. This episode's only redeeming value is it's pretty funny but that's it.

**The Help (Season 2, Episode 2**) This episode has a high point, with Jenny and Jill coming head to head over Trevor, but everything else seems like it's leading somewhere instead of getting somewhere. These episodes are needed so we can have awesome episodes where everything ignites, but this one felt too normal for my tastes. It also hints at some Roy-Trevor rivalry that'll come a bit later down the road but it's not an aspect I'm fully in love with.

**411 (Season 2, Episode 6**) Okay, this has such a GREAT scene in it with Chelsea telling Kirby that Prichard is the father but what about everything else? There isn't much of anything else, actually. There's maybe 2 other scenes in this episode and it's done. By purely being short with little punch, I have to put it on the list for one of the more lame episodes.

**If I Could Be Like That (Season 3, Episode 6)** Starts off with a good premise by being a documentary but then midway through it goes back to the regular story. It was interesting but seemed a bit far fetched, even for a crazy show like this. And then the story it goes to is merely just bringing up new plot points that have way more interesting pay offs in later episodes.

What about you? What are your top 3/5/10 episodes? And least favorites?

* * *

><p>Guys, <strong>BillyBobD here<strong>. Maybe there was a misunderstanding about the reviews thing. The point of bringing up the count was so the other inbetween chapters that come up before the series finale could get some love. So I'll make it more simple...

Get the previous chapters, this chapter and the next 3 chapters coming up to a certain amount of reviews before the series finale comes! The next chapters are... a Tumbling with Niley, a Mr. Leeds History Test and the Pre-Finale Q&A. Here's the amount needed for each chapter...

Marnie's Blog: Entry 420 - **8 reviews (currently at 5)**  
>Jill's Kill List: Version 03 - <strong>8 reviews (currently at 5)<strong>  
>More of Robbie's Status Updates - <strong>8 reviews (currently at 6)<strong>  
>Top Best and Worst Episodes - <strong>5 reviews<strong>  
>Tumbling with Niley: Archive April 2011 - <strong>4 reviews<strong>  
>Mr. Leeds' History Test - <strong>4 reviews<strong>  
>Pre-Finale Q&amp;A - <strong>5 reviews<strong>

This should bring the total to **346 reviews**. And you will therefore get **Part 1 and Part 2 of the series finale in one go** (the requirement was 345)!

The amount for part 3 and part 4 will be changed though (in order to make sure 1 & 2 get reviews as well). I will tell you the amount for those when the** first 2 parts of the finale are posted**!


	39. Mr Leeds' History Test

**Unit 1 - 3 History Exams**

**Name _. Date _. Subject. _. Period #_**

How many of these questions can you answer? The person with the most correct will be declared the ULTIMATE WOODSBORO HIGH FAN! Give it a shot, see how many you know! And don't cheat!

1. What was Patrick's last name?  
>2. What is "Kirby" short for?<br>3. Where was the first Stab-A-Thon held?  
>4. What was the present Charlie originally got Kirby for Christmas in 2008?<br>5. Who was the first president of Cinema Club?  
>6. Who was first to die in the Penciatti Hotel Massacre?<br>7. How did Niley get Squirrely?  
>8. In what episode does Sidney first come to Woodsboro? And why?<br>9. Which celebrity does Jill equate her fame to?  
>10. When and who does Jill lose her virginity to?<p>

11. Jill had a third boyfriend her sophomore year but it was VERY shortlived. What was his name?  
>12. Who was Olivia's boyfriend she met up with in Los Angeles for New Year's?<br>13. What were the names of the other two girls sitting with Solai and Lynn at the party in "Dope Show?"  
>14. What movie does Roy say he and Tess saw with each other on their first date?<br>15. Why does Kirby cut her hair?  
>16. Olivia holds a grudge towards Jill and the gang before becoming friends again. Why?<br>17. Who died in the car crash in "This is Halloween?"  
>18. Niley dresses up as something different for each Halloween. Name the two costumes we know she wears.<br>19. What film does the Cinema Club watch being filmed on location?  
>20. What was Kirby's boss' name at the video store?<p>

21. How does Patrick find a way to meet Jill?  
>22. Who helped Danny try to frame Patrick into being involved in the Peniciatti Massacre?<br>23. What was the amount of money Chelsea owed to the city of Los Angeles for damages?  
>24. In what way are Mr. Leeds and Andy related to each other?<br>25. What is Mr. Leeds' first name?  
>26. What job title did Gale have at Woodsboro High for a short amount of time?<br>27. What was the name of the burn victim in a coma that Jill didn't successfully kill?  
>28. Who was Jill's first kill?<br>29. What was the name of the documentary TV show being filmed in Woodsboro?  
>30. Why was Kirby was in the hospital (when she accepted Prichard's date proposal)?<p>

* * *

><p>Part 1 and 2 of the Series Finale. TONIGHT at 8 PM PST. Tune in.<p> 


	40. Tumbling with Niley: Archive April 2011

**Tumbling with Niley - Archive April 2011**

Life has many perplexing (am I spelling that rite?) questionz. Here are some of my favs:  
>1. How much wood could a wood chuck would chuck wood chuck would chuck wood chuck would chuck wood chuck chuck chuck if a wood chuck could chuck wood?<br>2. How come it's called a question Mark? Why not a question Steve? Or better yet, a question Niley? I like the sound of that... question Niley... nahahahahhaah.  
>3. Can Facebook have it's own Facebook? And better yet, does it own a book with any faces on it?<br>4. Terminator 2, the Terminator is pretty friendly. It should've been called Friendenator. OOOOOOH NEW WEBSITE IDEAA!  
>5. One word: LOST. Roy won't explain it to me :(<br>6. Why is the thing you push on to make the car go called a "puddle?" It should be called a "cargo." Get it? Get it? But noooooo, nobody listnez to mei!  
>7. How come w enever see Jason Vorheeps or Michael Myers pee? all that stalking would require some hydration which would result in urination. No?<br>8. "You had me at 'hello.'" One werd and thats it? That bitch must be easy! She stupid. But it Tom Crewz, I dont blame her!  
>9. How does the weather man KNOW?<br>10. Do whales in China speek a diffrent langeuigh than the whales in America?  
>11. When I was 11, I wanted to be a Power Ranger. I spent my whole life training for it. I took many self defense classes and even bought the suit to be the pink ranger. I trained my right leg to give a mighty good kick. I can kick down a door easily. I thought for sure this might come in handy the day I meet Zorg and ask to be apart of his special team of fighters. And just 2 weeks ago, I found out the Power Rangers weren't real. WHAT THE FUCK, WHY NOT? Who's gonna save us from that evil witch on the moon with her telescope making monsters out of puddy! SHE MUST BE STOPPED! SERIOUSLY! Does Obama have a plan for this? I DON'T THINK SO! What my point is, if I were president, my first act would be to instate a Power Rangers team. Vote for Niley!<br>12. Whos the crazy guy who had the idea to put coins into a pig? Piggy banks are animal cruelyty! :((  
>13. Why is 13 unlucky? I dont get it :(<p>

* * *

><p>Part 1 and 2 of the Series Finale. TONIGHT at 8 PM PST. Tune in.<p> 


	41. Q&A With the Author: Part 3

1.  
><strong>You once mentioned that you changed a few things about season 3 from your original plan. Mind sharing those changes?<strong>  
>- The Charlie and Jill thing happened much quicker in the original plan. I didn't like it though, it felt forced. Didn't seem natural at all. So I decided instead of having it happen in the beginning, it'd happen right just before the end came, with an entire episode focused on them also helping out the naturality of it. I'm really happy with how it turned out now and I think it's perfect. Can't imagine it happening any other way more organically... well, in psycho serial killer terms.<br>- The Kirby-Lynn storyline wasn't included either. Originally, the party scene was going to be it with Lynn but I quickly decided Kirby needed more to do in the latter part of the season instead of teasing Charlie. And then, when it got more to the end of the season, I felt like once again, the storyline is interesting but it's not working in favor towards what's happening in Scream 4. So I decided to scrap the plans of Kirby admitting she was bisexual, which also felt a little too obvious as a storyline too since it's so similar to Robbie's situation, and then I also scrapped a lesbian semi-sex scene that would've completed that arc (sorry guys) in which she would've realized anyway that she was only straight. And I felt like that was kinda useless so I just thought we'd get to her being straight and telling Lynn off a bit quicker so we can get back to the Kirby-Charlie storyline, which is much more complicated, dramatic and interesting anyway, plus it has more to do with what's important to the story. But people liked Lynn so I've decided to keep her around every once and awhile.  
>- Roy and Marnie wasn't originally planned. The original plan was Roy and Tess were still together at this point... (more on that down below) but I think Marnie needed just a tad bit more tragedy with her death with the fact that she would have this hope in regards to returning to Breckin, another crush and Roy finally giving her the time of day. Things were finally looking up for her after all the crap she went through in Season 2 so I felt like she needed some relief... which would be short lived but still, it gave that bit more of an impact that I was looking for in her death.<br>- Another huge thing that got gutted early on was Tess (no pun intended). She was supposed to be a heavy player in the second half of season 2 and season 3. Her disappearance wasn't supposed to happen until practically an episode or two before the series finale. Their original break up storyline had to do with Jill and Roy starting to become close. Problem was, reviewers hated Tess and that was my fault. When season 2 went to summary format, all of her character-y stuff was never seen so she never got built as an appropriate character. So when Roy and Tess' relationship was having it's downfall, it was suppose to feel much more dramatic in season 3, instead of people going "what the fuck is wrong with this bitch?" If season 2 was fully written, I don't think they would've had the same reaction to Tess since she was going to be very likeable at first, but like I said, things change. That's why I often say reviews are important because otherwise, I wouldn't have known people felt that way and readers would've been stuck with a storyline they couldn't get into. But I realized the fault was the summaries from season 2 was really effecting season 3 on this what-was-supposed-to-be-a-VERY-dramatic-and-IMPORTANT storyline. So I cut her out midway due to the strong feelings reviewers had against her, developed the Roy and Jill thing a bit more naturally and that also was on account of the Charlie and Jill thing coming in a bit later too. So in the end, it worked out oddly more perfect than was originally planned. However, her ending with Roy is still the same and I suppose that was the most important thing. Readers didn't have to like her but it's still important to show how much she meant to Roy. This also changes the poetry of the Tess saving Roy from death in Scream 4 motif I was trying to go for that would've also coincided with events in Scream 5. I had to tweak it to a point where now, it's because Tess left that made it a possibilty Jill can like Roy enough to not kill him. So actually, I think it makes it a bit more powerful in that regard than I was originally anticipating.  
>- The Chelsea invading Mr. Leeds' life thing was much more prominent also and I think it's more than obvious that it was dropped somewhere in the beginning. The idea was good but I don't think it would've sustained itself throughout the entire season like I thought it would at first. So I'm adding it sparingly between every few episodes. And most of all, I just wasn't interested in writing that angle because it didn't have much to do with everything else and quite frankly, I didn't feel like reworking things TO make it work with everything else. I felt if any of the storylines could be dropped, it'd be this one.<br>- Those are the main changes but I suspected a lot of changes would happen more towards season 3 since I planned the thing out before I even wrote season 1 and it's hard to predict that far into the future how things will work out but luckily, pretty much everything I wanted to happen has happened. I'd still say the show is about 85% of how I originally envisioned it but still the show is 100% how it should be so the story has benefited from the changes, which is a good thing.

2.  
><strong>Did you ever consider doing a fourth season of Woodsboro High?<strong>  
>I sure did. When I originally planned out the series, I saw potential for a fourth season. I didn't outline it further than the third season though, as I didn't know if it would be successful enough. But the show gained a big fan base and I started to think about it, however, I got more busy and busy so I stopped while I was ahead. I'll be somewhat bridging the gap between Scream 4 and Scream 5 though in the series finale. Plus, a fourth season would've been a bit weird... considering pretty much all the main characters would be dead.<p>

**If this were a real TV show, would you make any changes to it?**  
>The main plotline would be the same but everything would be extended, obviously. And with those extensions, some things can't be dragged out for so long and so changes would be forced to be made since things would happen in a quicker timely manner. I'd add more storylines, maybe a few more characters and give greater focus to the lesser characters on the show. The overall gameplan would be the same, it'd just be much more extended and in depth. Plus, it would also depend on what type of network it was on. If it was regular TV like the CW, it'd be very bogged down and take away some of the more graphic storylines. Cable, like AMC, is more leniant and that'd probably where I'd like to go. Then ofcourse the movie channels, like Showtime, would have no restrictions but I think that's for more adult audiences and Woodsboro High's demographic is teens even though it has very adult themes.<p>

**Why is "Bad Karma" a pre-season finale episode instead of a part of the season finale?**  
>The series finale carries a different tone overall. For example, Bad Karma has an opening puzzle piece as where the finale does not. Also, the finale explores themes that are seperate from the ones in "Bad Karma." I think it'll make more sense once you read them both. But since Bad Karma is 2 episodes and the series finale is 4 episodes, you could very much look at it as a 6-part series finale episode since they practically mesh with eachother.<p>

4.  
><strong>We know there's action in the series finale but will there be horror?<strong>  
>Yes. There's a typical Scream phone call opening. And no, it's not a Stab movie. It's real. The question is who and why...<p>

**BillyBobD, please answer. Didn't you say Niley and Roy were going to Disneyland during Scream 4? Please respond.**  
>Nope. Never said that. Niley has tickets for Disneyland... doesn't mean she'll get to use them. She discovers Marnie and Jenny's bodies... why would she go to Disneyland after that? Plus it would ruin a really good moment in Scream 5. Roy and Niley are very much present during the Scream 4 timeline at Woodsboro High.<p>

**What is Jill thinking at the end of "Almost Famous" when she's crying and looking at Sidney's picture?**  
>That's actually a very complex scene for Jill as a character and I wasn't sure if people would necessarily catch all the depth within it. But basically, she's realizing that her cousin actually likes her. In Jill's sick and twisted mind, she doesn't see that it's enough but she is capable of feeling that love so that's why she's crying. She'd rather have the fame. She'd rather have a million people love her instead of one person. The fact that she recognizes that she's feeling what she's feeling is what brings her to tears and she can't stop what's going on in her head with wanting what she wants. And the moment she remembers exactly what it is she wants, it over powers all the "but my cousin loves me" feelings she's having and she remembers in order to get to her goal, she has to kill Sidney and in that regard it turns her cold and therefore, she goes back to her "need" to become famous. And she realizes, "stick with this plan and it'll work." And therefore she realizes, "Sidney's practically on her way now... I'm almost famous."<p>

**Why haven't Roy and Niley ever got together? Have you ever considered it?**  
>I strictly forbid that. Their friendship is real and they truthfully don't see each other in that way. I think it'd be weird if they did, honestly. They find each other attractive and they think they have great personalities but their friendship is the most concrete thing between them. Plus I think it's a great dyanamic and a change of pace. Everyone is hooking up with everyone. But these two need to be what they are for everything to work out as it does.<p>

5.  
><strong>Was it hard killing off Marnie and Jenny?<strong>  
>Marnie, not so much. I don't think I ever fully realized her as a character even though I tried so many times. Every time I tried to add depth to her, it never made me more interested in her. I kinda wish I would've put her in the first season now. At first, it was "ah, this is a brilliant idea" but now I sort of regret it. Her death is just as shrug-worthy as it was in the movie, which wasn't my intention. Even when trying to write her more of a moment, it just didn't work which is why it goes from her being alive still while getting set up in the chair to her already dead when Jenny wakes up. Jenny is the main focus of the scene anyway. And for her, it was a bit harder to get rid of her. I liked her character and I liked where it went over the arc of all the seasons and I think I squeezed in the right amount of heartbreak and tragedy into that scene just before Jill finally offs her. And Jenny was a pretty despicable character from mid season 2 to mid season 3, so in the end, I really wanted to bring her back to who she was and that was this noble, virginal nerd that put her friends first. So that finished her arc and made it come full circle and it was a fully realized arc and it made it even more tragic for her to go to Jill and admit her wrong doings and her regret and that she realizes she was a shitty friend and that Trevor was just using them. I knew what Scream 4 showed in the movie wasn't nearly enough as it was and would be in no way an epic conclusion for her character so I had always planned for it to go that extra mile. It's the jump start for when the movie begins so it had to feel important. Jenny's been apart of the show since scene 1 and I know she had some fans so I wanted to make sure she had her due. Either way, it was inevitable, as that was what comes from the source material. But no worries... they'll be back...<p>

**Will we be seeing Mr. Leeds and Chelsea in the series finale?**  
>A bit. Just enough to finish the story that was intended. It was never supposed to be a big thing anyway and is more of a set up to explain some things in Scream 5.<p>

6.  
><strong>Which character will you miss writing the most?<strong>  
>Ergh, that's hard. But probably... Kirby. Been writing her since Scream 5. I'll miss you Kirbiline Reed.<p>

**Do you enjoy writing the Scream fan fics and what was the best part and the hardest / most challenging part?**  
>Yup, I enjoy it quite a bit. It's fun and when I'm having fun, nothing is really challenging. I suppose it's hard to put the time into it but I generally write fast anyway but I'd rather be writing original material that can actually be made. But the best part is the fan reaction, whether it's negative or positive. Seeing what people thought is such a catharsis when writing because then you know you did it for a reason and that's to entertain. When people read and don't let you know what they thought of it, it seems like a slap in the face. Like you wrote out an entire thing, spent hours of thinking about it and writing it, and for them just to walk away without giving you some type of feedback makes one feel a bit used. Detailed responses from fans always makes me happy.<p>

**Was Jill better friends with Kirby or Chelsea?**  
>Jill's friendship was never established with Chelsea (although it IS implied they hang out every once and awhile when the show's main plot isn't happening). In fact, they speak only one line to each other throughout the entire series (Jill goes to the hospital to visit Chelsea after she collapsed but when she gets there, she talks to Kirby instead. She then asks, "you okay?" in which Chelsea responds, "hardly" and the episode ends.) So why is Jill so deeply impacted by Chelsea's death? Jill doesn't mutter a single word or show any remorse for Chelsea until Kirby brings up the fact that they as a group forgot about her. This flicks a switch in Jill's mind, who is also going through a break up at the moment, that in no way does she want to end up like that and ofcourse, she feels bad for Chelsea once she realizes this. Jill then grows her fascination with fame, which amplifies her desire to be loved and never forgotten. Jill always acting so deeply about Chelsea being gone isn't really about Chelsea, but more about her herself but, Jill doesn't realize this within herself so the way she makes sense of her feelings is by believing these feelings come from Chelsea's death. This could also reason why Jill never singles out Mr. Leeds as possibly being responsible because she's not thoroughly thinking about Chelsea's final situation. The point of her character doing this is to show how a psychopath reasons with killing someone, whether it be big or small (she singles out Olivia as responsible for Chelsea's death instead of Mr. Leeds). Glad this was asked, as I'm sure this isn't the most obvious thing ever.<p>

**How come Olivia didn't suspect Jill after she threatened her like that? And how come nobody thinks Jill is the one behind it with all her behavior, like her mom after she wished Sidney was dead?**  
>Jill... didn't... threaten her...? lol She was obviously joking and Olivia would take such a random comment as such. And why WOULD anyone think Jill is behind it? Nobody suspects a 17 year old girl to just start going around killing everybody. She has the perfect disguise and that's the look of innocence. Even if it crosses their mind for a moment, they'll just think they're crazy and think something else. Same goes for her mother. Sometimes people just say weird things and more than likely you'll forget someone saying that months or even days later because you see no reason to keep it in your conscience. It actually happens in life with every killer. Very rarely is an actual serial killer someone you suspect. You see them and think, "but they look so normal" or "they were so friendly." These people are masterful con artists, tricking the world that the evil inside them doesn't exist. And Jill is the best con artist of them all.<p>

**Wasn't Marnie a little creeped out by Jenny? She seemed to be too obsessed with the Stab movies.**  
>Marnie thinks everyone is obsessed with the Stab movies in Woodsboro. It's touched upon a bit in one of her blogs. So Jenny acting the way she does, especially after she went through a break up, seems normal to her. She'd probably be a bit more worried if she DIDN'T like the Stab movies...<p>

**Do you think Charlie wouldn't have helped Jill if Stephie was still in town?**  
>Nope and that was the point of the Stephie storyarc. Stephie is the one person who could've kept Charlie away from all this. Charlie didn't really start acting out from his medication until the idea of Stephie leaving came up anyway. Jill wouldn't have even got close to Charlie if Stephie was still around and that's the sad truth.<p>

* * *

><p>Part 1 and 2 of the Series Finale. TONIGHT at 8 PM PST. Tune in.<p> 


	42. SERIES FINALE: Jill's America: PART 1

1.  
>BLACK.<p>

_Quote:_  
><em>"Round we go<em>  
><em>The world is spinning<em>  
><em>When it stops<em>  
><em>It's just beginning<em>

_Sun comes up_  
><em>We live and we cry<em>  
><em>Sun comes down<em>  
><em>And then we all die"<em>

_- Samara. The Ring._

Fade out. Still dark.

A phone rings. A regular ringer, definitely a house phone.

OPEN ON:  
>A cell phone. Okay, so maybe not a house phone. But the ringtone sure sounds normal.<p>

PULL BACK TO REVEAL:  
>INT. SOLAI'S ROOM - NIGHT<br>Solai grabs the phone, quickly bypassing the caller ID and sets the phone to her ear.

SOLAI: Hello?  
>VOICE: Hello.<br>SOLAI: Uhhhh... (checks the caller ID - RESTRICTED) who's this?  
>VOICE: Who do you want me to be?<br>SOLAI: I would like it if you were my boyfriend finally calling me.  
>VOICE: I think I can do that.<br>SOLAI: Oh, can you? Is your name Topher by any chance?  
>VOICE: No. But I can change it to that. If you like.<br>SOLAI: (giggles) That's okay, I want my Toph-y. But seriously, who is this? Amanda? Taylor? Lynn?  
>VOICE: Do I sound like a girl?<br>SOLAI: Well they're all lesbos so it's fitting.  
>VOICE: That's not a nice thing to say about your friends, Solai.<br>SOLAI: Ooooh, so you know my name. C'mon, it's only polite if I know yours.  
>VOICE: You can call me Ghostface.<p>

The soundtrack thuds.

SOLAI: Ah! STAB! I knew it. I should've known, I spent a whole day watching those movies last year and oh look, conveniantly in time for the anniversary! You're original.  
>GHOSTFACE: Were you really watching them or were you too busy fucking someone?<p>

Solai rolls her eyes.

SOLAI: Okay, Niley, look, that was a long time ago. I thought we were over this and - -  
>GHOSTFACE: This isn't Niley.<br>SOLAI: Jill?  
>GHOSTFACE: Again with the girl names. I don't get it.<br>SOLAI: Well Robbie, if this is your idea of some stupid prank - -  
>GHOSTFACE: Solai, I assure you... this isn't a prank.<br>SOLAI: Well... either way. Joke's on you because I'm hanging up now. You're probably recording this and I'm on some radio station or whatever the hell it is you're doing these days. Or is that Roy? Whatever, either way, the both of you are too lucky for the average teenager.  
>GHOSTFACE: If you hang up, so help me God, I will crush your vocal chords so you can't scream as I cut you from ear to ear.<p>

The calmness in his voice chills her to the bone. She goes to speak... fuck it. SHE HANGS UP.

SOLAI: Fucking creep.

She throws the phone to the bed and exits from the room.

INT. SOLAI'S FOYER - CONT'D  
>Solai gracefully steps down the stairs and comes to the bottom. She checks the peep hole. It's clear outside. She locks the top lock. The door lock. And the chain lock. She turns and heads to the kitchen.<p>

INT. SOLAI'S KITCHEN - CONT'D  
>Solai enters and turns on the mini TV set atop the counter. It's the news, so she switches it to cartoons. To the fridge she goes, taking out a milk carton and drinking from it directly. The house phone rings. She thinks nothing of it and answers.<p>

SOLAI: Hello?  
>GHOSTFACE: Why didn't you heed my warning?<br>SOLAI: How the hell did you get this number?  
>GHOSTFACE: I'm resourceful.<br>SOLAI: Well you just gave yourself away. Only two of my friends know my house number so let's guess which jackass you are, yeah?  
>GHOSTFACE: This should be fun.<br>SOLAI: You're caught, Ollie.  
>GHOSTFACE: That gay guy on the football team? GUESS AGAIN.<br>SOLAI: And Topher himself. Bravo.

There's no response. She grins, victoriously.

SOLAI: Thought so. Hey, are you here? I've been waiting for you for hours.

She makes her way back into the foyer.

INT. SOLAI'S FOYER - CONT'D  
>Solai reaches for the door handle.<p>

GHOSTFACE: Don't forget to unlock the chain, the top lock and the door.

Solai stops.

SOLAI: How did you know I did that?  
>GHOSTFACE: Good guess...<br>SOLAI:... can you see me?  
>GHOSTFACE: Better yet, Solai, I'm FILMING YOU.<br>SOLAI: Well cut the theatrics, this isn't going on YouTube.

Solai runs herself up the steps and to the top of the stairs and the pathway leading to the hallway. She stops and looks out the giant glass window overlooking her front yard.

GHOSTFACE: I was thinking more like Faces of Death.  
>SOLAI: Never heard of it.<br>GHOSTFACE: Or maybe my own little Stab remake. Situation seem familiar? Girl alone at night, receives a phone call and she's waiting for her boyfriend. Only the boyfriend is mysteriously missing...  
>SOLAI: Topher, I swear this isn't funny.<br>GHOSTFACE: I'M NOT TOPHER.  
>SOLAI: Then who the fuck are you? Huh? If you're a real killer, why haven't you done anything yet? Why do you just keep talking?<p>

There's an eerie silence. Solai revved up, huffing and puffing. Pissed this guy is giving her shit. And then, after that beat of thinking...

GHOSTFACE: ... practice.

GHOSTFACE POPS FROM THE CLOSET BEHIND HER AND DIGS THE KNIFE INTO HER BACK. Solai drops the phone down and IT SMASHES against the bottom floor below. She nearly falls over the railing until Ghostface TURNS HER OVER, THRUSTING THEIR HAND INTO HER NECK - - CRUNCH - - and STABS HER IN THE SHOULDER.

She falls to a sit and slips on the first step. Her body TUMBLES ALL THE WAY DOWN THE STAIRS and COLLAPSES on the bottom.

A light shines in through the window up above. Ghostface looks out - - TOPHER'S CAR arrives in the drive way. Ghostface looks down at Solai's body... AND SPINS DOWN THE HALLWAY, OUT OF SIGHT.

EXT. SOLAI'S FRONT YARD - CONT'D  
>Topher exits his car and makes his way for the walkway. He's still in his work clothes and he hums along. He stops for a moment and checks the roses growing along the path. He sniffs it and jumps back up - - disgusting smell apparently. He continues to the door and knocks.<p>

INT. SOLAI'S FOYER - CONT'D  
>Solai lays on the floor at the bottom of the stairs... practically twisted like a pretzal... PARALYZED from the waist down. She can hear the knock and she tries to reach for the door... she goes to speak - - blood spills from her mouth instead.<p>

EXT. SOLAI'S FRONT YARD - CONT'D  
>Topher waits another moment. It's cold out though. So screw this. He takes out his set of keys and unlocks the door. He twists the handle - - still locked. He unlocks the top lock - - the door opens - - but STOPS inches after opening.<p>

INT. SOLAI'S FOYER - CONT'D  
>Solai looks up, barely unable to lift her head. She mouths "help"... but it does no good. She's off to the side... out of sight. He reaches his hand up the doorframe and unlocks the chain. He opens the door and looks straight up the stairs. His foot is literally an INCH AWAY FROM HER HAND.<p>

TOPHER: Solai, I'm here! Why aren't you answering your phone?

He charges up the stairs - - AWAY FROM HER. She mouths "no"... and he continues up. He reaches the top, bypassing the blood on the railway at the top and heads down the hallway towards Solai's room. The door is WIDE OPEN.

TOPHER: Solai, you napping?

INT. SOLAI'S ROOM - CONT'D  
>Topher enters and notices her cell phone atop her bed. He sighs and continues in, looking around and taking off his jacket.<p>

TOPHER: Solai, you taking a dumper or what?

He scans through her CDs, just to waste time. There's still no response... and the longer there isn't one... the more odd it becomes.

TOPHER: Okay, what the hell.

INT. SOLAI'S FOYER - CONT'D  
>Topher walks over to the railing overlooking the window. The blood is GONE. He hangs over it and looks down... SHE'S GONE... no news to him though. The sound from the kitchen sure grabs his attention. He quickly paces down the stairs and heads into the kitchen.<p>

INT. SOLAI'S KITCHEN - CONT'D  
>Topher enters and looks at the TV. Road Runner, Wil E Coyote stuff. He steps forward, flicking it off. The house now a complete HUSH. He spins around... where the hell could she be? A figure is just outside the door... sitting. He comes to the window... and turns on the lights. SOLAI'S TIED UP TO A CHAIR.<p>

TOPHER: Holy fuck!

EXT. SOLAI'S BACKYARD - CONT'D  
>Topher wastes no time and CHARGES out the door, quickly running to her aid. She tries to shake her head to warn him - - but she's barely able to. Tears stream down her cheeks as he rips off the tape from the chair off her wrists; her hands falls limp into her lap.<p>

TOPHER: It's gonna be okay! You hear me? What happened?

He looks around. NOBODY IN SIGHT. He rips off the tape from her face - - A CAMERA is LODGED IN HER MOUTH, POINTED DIRECTLY AT HIM.

TOPHER: What the - -

A KNIFE SLIDES BEHIND HIM AND CROSSES HIS THROAT. Blood SPURTS out from his neck and down onto Solai as she begins to cry harder. He drops to his knees, totally incapable of understanding what just happened. He looks down at the blood... his eyes go wide... and he collapses. DEAD.

Solai looks up at her attacker, completely mortified. Ghostface slowly turns toward her, calmy tilting their head. Even though she's not tied up - - SHE CAN'T GO ANYWHERE. Ghostface pulls the camera from her mouth and she spits up blood.

ANOTHER GHOSTFACE comes from behind and takes off their mask - JILL.

JILL: God dammit, we're never gonna get this chair kill. (blabbering on) It's my fault though, I was way too excited to kill Jenny that I forgot to get a good angle on you when you did the deed on Marnie and I know, I shouldn't have kept my mask off. It's an amateur mistake but it'll never happen again.  
>CHARLIE: (points to his head) What the fuck are you doing?<br>JILL: What is she gonna do, TELL ON US?

SOLAI EYES TELL THE WHOLE STORY GOING ON IN HER MIND. Freaked the fuck out is barely just stratching the surface. Charlie takes off his mask. More tears fall from Solai's eyes. Charlie turns his back on her and focuses only on Jill.

CHARLIE: He's dead and she can't speak, let's get the hell out of here.  
>JILL: What are you, retarded? She can still pin us. Write it out on a little notepad. Go through the yearbook person by person. One blink for "no," two for "yes" when you spot Waldo. And what the fuck was that phone call, Charlie? That was so tame.<br>CHARLIE: It's scarier when he's calm.  
>JILL: Whatever. Let's kill this bitch and let's G-T-F-O here. These half-a-foot high boots are killing me.<br>CHARLIE: It makes you more intimidating when you're taller. No one would be frightened by a midget Ghostface.  
>JILL: Thanks Wes Carpenter. Now off her and let's go.<p>

They both look - - SHE'S GONE.

CHARLIE: SHIT.  
>JILL:... this is your fault.<p>

She PUSHES Charlie out of the way and searches throughout the backyard.

JILL: Solaiiii.

She comes around the corner of the house. A blood trail leads toward the fence to the street. Solai crawls with her hands, almost reaching.

JILL: Look, it's been a long day so if you would just cooperate...

Jill runs over, kneels down and flips Solai's floppy body over. Solai SPITS BLOOD in Jill's face. BAD IDEA. But Jill smiles as the blood runs down her lips... and she slides the steel across Solai's stomach...

JILL: Shame, Solai... we could've been such a good friends. Oh wait... this would've happened anyway than.

Solai looks down at her feet - - they're moving. Jill raises the knife - - A FOOT CONNECTS INTO HER HEAD, HARD. Jill falls to the floor and Solai tries to push herself up with her now more mobile but still weak feet. She comes to a stand, holding herself up with the fence.

Jill awakes - - and on impulse, SWINGS THE KNIFE INTO SOLAI'S ANKLE. Jill smirks and TWISTS IT EVEN FURTHER, DIGGING IN. Solai falls to the ground, sliding down the fence. Solai's tears have run dry... only the pathetic acceptance of what's coming to her next. Jill rises slowly, cracking her neck. Uh oh... she's pissed... and she slides back on her mask with a sly smile.

JILL: (raises the knife) And... CUT!

SHE SLAMS THE KNIFE DOWN TOWARD'S SOLAI'S FACE - -

SLICE TO BLACK!

MAIN TITLES - - EXTENDED.

MAIN TITLES:  
>DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)<br>and  
>AMC CHANNEL present (a dark, bloody basement)<br>Starring  
>JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)<br>CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)  
>OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)<br>ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)  
>TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)<br>JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)  
>MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)<br>NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)  
>KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)<br>ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)  
>with<br>SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)  
>and<br>SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -  
>(white lettering PUNCHES through)<br>SCREAM:  
>WOODSBORO HIGH<p>

THE SERIES FINALE

Based on Events and Characters by Kevin Williamson  
>Teleplay and Concepted by Billy Bob D<p>

FADE OUT.

2.  
>FADE IN:<p>

INT. ABANDONED SCHOOLHOUSE - NIGHT  
>TITLE CARD: October 2011<br>We've been here before... in fact, it all looks very much the same. Small, now melted candles are in a circle around the floor. Glass from the window has been shattered about. Unmoved. Untouched. For 3 and a half years.

Roy enters, a depressed mess. It's clear being here is a little rough for him. He looks down at the candles... the glass... and it all brings back memories. To that one night, years ago, the day before he started high school. Where his friends were "Ghost Hunting" while he was given the task to play a prank dressed in a Jason mask. All of it seems so long ago now... at a much happier time...

He sits down by the candles... and looks at each one... he can still remember where each of his friends sat... Jenny... Robbie... Charlie... Jill... but none of them are there anymore. And as soon as he realizes that... he can't help but think... what if they were? What if things turned out differently? What caused the whole down fall anyway? He can't pinpoint it in his head... but he has a gut feeling that this ONE thing changed it all... and then he imagines... what if...

FADE TO:

INT. JILL'S ROOM - DAY  
>TITLE CARD: April 14th...2011...<br>MUSIC CUE: [youtube. com/watch?v=OzQZdFClTAw]  
>The alarm clock goes off. Jill POPS UP. Excited. There's something about today she can't WAIT for. She quickly throws on her clothes and speeds out her door.<p>

INT. ROBERTS KITCHEN - CONT'D  
>Jill slides across the floor with her socks and into the kitchen. Kate makes a fresh batch of toast and Jill grabs a slice. Kate notices Jill's chipper attitude.<p>

KATE: Someone's excited...  
>JILL: You bet!<p>

Jill runs off.

KATE: Jill, you gotta wait for me!  
>JILL: I'll bring her by later! You can wait!<p>

The door closes and leaves Kate alone. She smiles and spreads the butter across the toast as it melts.

KATE: (sighs... and smiles) Cousins.

EXT. ROBERTS RESIDENCE - CONT'D  
>Jill runs down the pathway and has a set of keys in hand. She comes to the driveway and there's a brand spanking new car in the drive way - - Jill enters it.<p>

JILL: Hello gorgeous.

We now know... this is her car... wait... what? She enters, turns it on and reverses out of the drive way.

EXT. AIRPORT PARKING LOT - CONT'D  
>Jill parks and jumps out of the car, racing towards the terminal... a big smile on her face...<br>The music fades out...

INT. AIRPORT TERMINAL - CONT'D  
>Jill enters and quickly spins around. She's not sure of where she needs to be. And then she looks up... and there she is. SIDNEY at the top of the escalator with her suitcase in hand. Jill smiles BIG, HAPPY. Sidney reaches the bottom and Jill quickly runs over, HUGGING HER COUSIN.<p>

SIDNEY: Heeeeeey!  
>JILL: I've missed you!<p>

Wha... what?

JILL: Did you extend your stay?

Sidney smiles, keeping Jill in suspense.

SIDNEY: Welllll...  
>JILL: Oh my God, Sidney, c'mon!<br>SIDNEY: I... might've.  
>JILL: Don't toy with my emotions!<br>SIDNEY: It's been extended... by just a bit.

Sidney turns around, looking back up toward the escalator. Rebecca is now coming down now... with SEVERAL suitcases in tow, totally peeved about the fact.

SIDNEY: (turns back to Jill and winks) Until your graduation.

Jill's eyes open wide in excitement.

JILL: YAY! You're gonna stay with us, right?  
>SIDNEY: I have to ask your mother, you know that.<br>JILL: Psh, she'll say yes!  
>SIDNEY: Well let's just see first, okay?<p>

Rebecca meets up with them, hauling around all the cases.

REBECCA: (to Jill, with a big fake happy smile) Hey there, wanna be a big help and carry some of this shit?  
>SIDNEY: This is Rebecca, my publicist. Sometimes she's a bitch but she means well.<br>REBECCA: True dat. And my first act of bitchiness for the day, we HAVE to make your last schedule book reading-slash-signing on time!  
>SIDNEY: Yeah, yeah, Jesus. All work and no play, this one.<br>JILL: It'll make you a dull girl, Rebecca.  
>REBECCA: So I'm assuming you're our cab?<br>JILL: You can call me Ranjeet. (grabs a suitcase to help her) Let's go!

They all run off towards the parking lot... Jill and Sidney... happily talking to eachother... and catching up. We will now refer to this timeline as the "(ALT UNI)" in the scene heading.

CUT TO:  
>INT. MARNIE'S ROOM - NIGHT<br>TITLE CARD: April 14th, 2011  
>Jill's face is illuminated by a TV's light as she sits on the couch, looking forward. PAN OVER to see what she's looking at - - it appears to be a home video. A young Marnie, not even 2 years old, is bumbling around with her new walking skills. She walks forward to a familiar face - - CICI COOPER - - and lands in her lap.<p>

Jill tilts her head. Hm... where do I know this face?

MARNIE'S MOTHER (O.S.): Isn't she precious?  
>CICI: She's so cuuuute. Yes, you are! Yes, you are! I'm gonna spoil you while you're little, you know that?<br>MARNIE'S MOTHER (O.S.): Aw, cousins.  
>CICI: I think she, um... you know.<br>MARNIE'S MOTHER (O.S.): Did you poopoo, Marnie?

Marnie looks up, a drooly grin on her face.

INFANT MARNIE: Dipe dipe change.

Marnie's mother and Cici laugh.

CICI: I'll let you handle that.  
>MARNIE'S MOTHER (O.S.): Keep this video, Marnie, and remember your cousin didn't want to change your diaper in your time of need.<br>CICI: Oh, shut up, Auntie Rea. You gonna change the diapers of my kids?  
>MARNIE'S MOTHER (O.S.): Oh and when will that be?<br>CICI: (yawns) Never.

They both laugh. The TV FLICKS OFF. Jill throws the remote down.

JILL: Pathetic.

Charlie pokes his head up from the window.

CHARLIE: You done up here?  
>JILL: Yeah, I think I've seen everything I need to.<br>CHARLIE: C'mon, it's almost like 1 in the morning.  
>JILL: I wasn't aware you had a bedtime.<p>

Jill wipes her prints from the remote and comes to the window, stepping down from the ladder. She closes the window and comes down.

3.  
>EXT. STREETS - CONT'D<br>Charlie grabs the ladder and they both walk away from Marnie's property. They continue walking down the street, their car at the far end.

CHARLIE: You find anything useful in there?  
>JILL: No.<p>

They keep walking. Jill is suspiciously quiet.

CHARLIE: Is something wrong?  
>JILL: No.<br>CHARLIE: You've been acting weird all night.  
>JILL: We kill people, Charlie, I think that goes beyond weird.<br>CHARLIE: At least you're self aware. (beat) Only 2 more nights... and I get to have you.

They reach the car. Charlie collapses the ladder down and begins stuffing it into his trunk.

JILL: If you get your job done.  
>CHARLIE: You know I'll get it done.<br>JILL: Do I? That why you keep posting shit on her Facebook wall every 10 seconds?  
>CHARLIE: I'm working up an alibi.<br>JILL: You listen here, Charlie, she hardly knows you exist. You got that? Don't forget I am the one who is going to make this all worth your while and she'll just be a corpse. Accept the fact that she's going to die and you're going to be the one to do it and start thinking that way NOW.

They enter the car.

INT. CHARLIE'S CAR - CONT'D  
>They both sit quiet for a moment. Charlie doesn't want to seem too suspicious though, so he then turns on the car. He waits a beat... and drives forward...<p>

CHARLIE: She's the only one of them you have nothing against. I'm not complaining, I'm just saying.  
>JILL: She's in the way of what I want so yeah, I have something against her.<br>CHARLIE: Dewey and Gale lived, ya know? That's four people. Me, you... we need another two.  
>JILL: Then we'll just have to keep Dewey and Gale very much alive, now won't we?<br>CHARLIE: But we need a NEW Dewey and Gale.  
>JILL: The only thing I need is for you to trust me. You want the fame, right? You wanna reboot a flailing franchise that we both love? (beat) You want me? Then we do it how I say we do it because as far as I'm concerned, I'm the brains.<br>CHARLIE: It was half of my idea.  
>JILL: And I'm improving it. Re-writes, if you will. Who's idea was it to kill Solai and Topher too? Who thought, just "what if nobody found Jenny and Marnie?" Our day 2 would've been shot to shit and Sidney would just leave and we would've been up shit creek with no paddles. It was my genius to take the necessary precautions that, come tomorrow morning, at least one group of those sorry sonsabitches would be found. And if they find all four, then maybe that's even better, I don't know. But it was MY idea and NOT yours, so recognize who is in charge here and like I said, FUCKING TRUST ME when I say we need Kirby dead for this to work.<br>CHARLIE: (beat) Fine.  
>JILL: You take your medication?<br>CHARLIE: It just ran out before we hit Jenny's house.  
>JILL: Ran out? You didn't think to refill it?<br>CHARLIE: I don't need them anymore.  
>JILL: You're acting all pussy all of a sudden, so yeah, you do.<br>CHARLIE: What does that have to do with anything?  
>JILL: (beat) Nothing. I'll make sure you get a refill, okay?<br>CHARLIE: Thanks, I guess...  
>JILL: Oh, speaking of re-writes, remember to call me in the morning before school. I wanna catch the look on their dumb faces as I get a Ghostface call.<br>CHARLIE: Someone else should get a call. Be suspicious if it was just you.  
>JILL: Olivia. Bitch is stupid, she'll probably think it's funny. (beat) Stop here.<p>

Charlie looks out the window. It's the airport and the ARTIE'S RENTAL CAR sign comes into view.

JILL: Wait here.

CUT TO:  
>INT. ARTIE'S RENTAL CAR - MORNING<br>Sidney and Rebecca are handed the keys by the CAR ASSISTANT.

CAR ASSISTANT: And here are your keys to the rental. Luckily you were our only reserved vehicle.  
>REBECCA: Oh yeah, why's that?<br>CAR ASSISTANT: Someone came in last night and flattened all the tires to the cars but one.  
>SIDNEY: Does that happen often?<br>CAR ASSISTANT: Damn kids these days, no telling what they'll do. Anniversary week pranks is probably all that it is.  
>SIDNEY: Pranks?<br>CAR ASSISTANT: Let's just say... you'll see when you get to town.  
>REBECCA: Okay Sidney, let's hurry! We're running late!<p>

Sidney smiles at the man as they exit out the door.

INT. NICK'S ROOM - MORNING  
>Robbie opens his eyes... and he looks around.. something's not right. He turns in bed. Nick is next to him. We see a moment of panic... but then a sudden comfort. He lays back down... Nick shuffles and lays his head on Robbie's chest. Robbie just sits there for a moment... letting the moment sink in. For the first time in awhile... he's happy.<p>

He sees the time... SHIT! He jumps up and quickly gathers for his clothes. Nick flops over and slowly wakes up. He smiles at the morning sun hitting his face and the look of Robbie half naked before him.

NICK: Where you going?  
>ROBBIE: School.<br>NICK: Screw school, come back to bed.  
>ROBBIE: No, I can't. My new headset is done and I have to start uploading live today for the launch but I'll see you later? You'll be at school later, right?<br>NICK: Nah, I think I'll just lay here for today. Keep it lazy. Text me, okay?  
>ROBBIE: Okay. Maybe I'll see you later.<p>

Robbie runs to the window and starts to pry it open.

NICK: Robbie.  
>ROBBIE: What?<br>NICK: You can go out through the front. My parents know I'm gay.

Robbie stops for a moment... he considers it... but opens the window anyway and jumps out. Nick sighs and gets comfortable back in bed.

NICK: Boys.

4.  
>CUT TO:<br>EXT. WOODSBORO HIGH - MORNING  
>Robbie, with headset on, comes toward the campus and there standing under a tree, waiting, is Will who appears excited as ever.<p>

ROBBIE: You ready for the premiere of totally mobile and totally live, Hall Pass with Robbie Mercer?  
>WILL: No way that thing works as you say it does.<br>ROBBIE: Totally, man, check this out. I'll even let you get in on the action.

Robbie takes off the headset and points it on himself. He turns it on.

ROBBIE: This is the first video blog for Hall Pass with Robbie Mercer, just saying hello and welcome. Most of you are at school right now so you won't be catching this live and are more than likely getting this later in the day in our archives but live streaming is one of our capabilities now to catch all the action as it happens! Hopefully we'll catch some really cool stuff and show high school in an uncensored, unauthorized and unforgiving look! Nudity, swearing and hopefully some carnage to be caught! First interview of the day... (he sets the headset back on) Will Scanton! Say hello, Will.  
>WILL: Hello world.<br>ROBBIE: Are you having a great morning so far?  
>WILL: Yeah, real great. A lot of the Cinema Club and I - - uh... without your... Robbie Mercer's knowledge... well, we went out and we painted the town red. Maybe you will get a look of all the fun Ghostface pranks we took part in.<br>ROBBIE: Ghostface pranks for the memorial week, as we call it here in Woodsboro?  
>WILL: (overacting) That's correct, Robbie!<br>ROBBIE: Oh... kay. Well thank you, Will, we will be catching you later hopefully. This is Hall Pass, Mercer-out!

Robbie clicks it off.

ROBBIE: Eh? Eh? What do you think?  
>WILL: Did you just say Mercer-out?<br>ROBBIE: Was that too Ryan Seacrest-y?  
>WILL: (beat) You're especially happy today.<br>ROBBIE: Well yeah... duh... got this cool little invention on my head.

Jill, Kirby and Olivia come forward. Robbie's focus is a bit garnered toward them and Will kinda slinks through the cracks into the realm of non-existing. As his focus is being drawn off...

WILL: Well what about the actual camera itself, did you configure it for this or... is that new?  
>ROBBIE: That's a 2.0 upgrade version, I'm totally mobile now.<br>WILL: Nice!

The girls arrive. Will walks off as Robbie approaches them. We FOLLOW WILL as he comes to a crouch behind the tree down below to Louis and Leo.

WILL: How long until you think they'll find the dummy hung from the goal post?  
>LOUIS: I give it another hour until PE starts.<p>

They all chuckle. Leo keeps his eyes on our usual gang.

LEO: Look at them. They'd swear they're the only people who go to this school.  
>LOUIS: Jesus, I know. All I hear is their nauseating gossip. "Who's dating Trevor now?" WHO GIVES A FUCK. What about us, huh? We're not cool?<p>

Chantelle over hears this and comes walking by flirtatiously.

CHANTELLE: No, honey. Not cool enough.  
>LOUIS: Yeah, sounds like you admire them?<br>CHANTELLE: You kidding me? There's nothing more annoying than popular kids not realizing they're popular. Their modesty sickens me...  
>LOUIS: Worst offender of them all is Roy.<p>

As he's saying this, Roy walks by and he nods to the group quickly and he enters the school.

CHANTELLE: What's wrong with Roy? He's sexy.  
>WILL: Sexy?<br>CHANTELLE: I'd jump him and ride him around like a carousel if I could. If he weren't so hung up on all the bitches hung up on him that is.  
>LOUIS: As I was fuckin' saying... somethin' about that guy... doesn't sit right with me.<br>LEO: Like what, Louis?  
>LOUIS: I always get this feeling... like he's planning something, ya know?<br>CHANTELLE: Like some Columbine shit or what?  
>LOUIS: No, no, no, not like that. Well maybe, I don't know. Something more inclusive between his friends.<br>LEO: The fuck do you care?  
>WILL: Louis gots a crush on Olivia.<p>

They all laugh and jib in the side.

LOUIS: Fuck no, that loose bitch? I'm just sayin', that's all.  
>CHANTELLE: I thought you had a thing for Esline?<br>LOUIS: Chantelle, just shut your damn mouth, okay?  
>LEO: Not like it's a secret, Louis.<br>LOUIS: I'm keepin' my eye on that guy though. Roy. He's fishy.  
>CHANTELLE: If ya ask me, the only one fishy here is you.<br>LOUIS: Yeah? Well good thing nobody asked you.  
>CHANTELLE: Fuck off. (flicks her cig at him) I'm going to class. See you dipshits later.<br>WILL: (once she's gone) I think we could have our own Hall Pass-like show. We're interesting enough.

They all stare at him for a moment... and just walk away.

WILL: What? It's true. They're not the only ones around here with drama, ya know? Sheesh.

5.  
>CUT TO:<br>INT. WOODSBORO HIGH - HALLWAYS - DAY  
>Jill and Kirby make way for Jill's locker. Kirby's blabbering on... but all Jill can think about is last night. Charlie comes toward them and Jill stops for a second.<p>

JILL: Hey Charlie, I got that... thing for you.

Kirby's still walking and talking... not even realizing Jill's not there. Jill hands Charlie a bottle of pills that she got from Dr. Pryce.

CHARLIE: I... how'd you get this?  
>JILL: Don't worry about it. But you got it now. So take it before tonight. 'k?<br>CHARLIE: Alright. Oh. (pulls out a cell phone) Snagged Trevor's phone as planned.  
>JILL: Good boy.<p>

She walks off and rejoins Kirby. She then remembers... she had something to do. She reaches into her bag... and switches on a tape recorder... Jill pops open her locker, beginning to put stuff in.

JILL: I think Charlie likes you.  
>KIRBY: And I like him. To tease, to torment, to make him squirm.<br>JILL: You can do alot worse, trust me.

Jill closes the locker and there stands TREVOR, cracking his knuckles. Jill gives him that look - "you again?" Kirby's had enough awkward encounters.

KIRBY: Oh. Hiii Trevor. Byyyye Trevor.

As Kirby walks off, Jill switches off the tape recorder and faces him.

TREVOR: Can we talk?

Jill gives him the cold shoulder treatment and keeps walking.

CUT TO:  
>INT. CLASSROOM - DAY<br>Roy's sat in the back of class, totally ignoring every single word spilling out of the teacher's mouth. He then gets a text... and everyone else gets a text. Odd... he looks down as does everyone else.

STUDENT #1: It's from Niley.  
>STUDENT #2: Just another mass text, it's probably not important.<br>STUDENT #1: Oh shit... no, man, this is heavy...  
>STUDENT #2: "Jenny Randall and Marnie Cooper were murdered last night. Stabbed to death."<br>STUDENT #1: I can't believe it.

Roy looks up... the news is hitting him... VANS DRIVE BY OUTSIDE and the entire class jumps up to take a look.

INT. WOODSBORO HIGH - HALLWAYS - A MOMENT LATER  
>Roy bursts out of the classroom and runs down the hall.<p>

CUT TO:  
>INT. POLICE STATION - DAY<br>Niley sits in the corner as Hoss tries to hand her some water. The poor girl cries... obviously not wanting to talk to anyone.

HOSS: C'mon, just drink. You're gonna get dehydrated.

Perkins walks by... noticing Hoss is getting a bit too friendly.

PERKINS: HOSS!

Hoss spins around... "I'm innocent!"

HOSS: She's crying, what else am I supposed to -  
>PERKINS: GET JO ASS OVER HERE!<p>

Hoss jumps up and comes to Perkins.

PERKINS: Go to your desk, let Judy handle that. Okay, buddy?  
>HOSS: But she's soo hoooot.<br>PERKINS: I know, I know. But you can't be doin' that shit. You're a cop, a deputy at that.  
>HOSS: What if I quit the force?<br>PERKINS: I'll be the first to arrest you, dammit! Now go to your desk. Hit on Gale when she gets here, how about that? She's near your age. Maybe it'll advance your career!  
>HOSS: It's not fair!<p>

Hoss stomps off like a child. Perkins looks at Niley's legs in her jogging shorts... he sighs.

PERKINS: God damn, I need to be 30 years younger.

He walks. Roy rushes in and looks around. Niley spots him and cries out.

NILEY: ROY!

Roy rushes to her aide and hugs her.

ROY: Oh my God, I'm so sorry.  
>NILEY: It was horrible, Roy.<br>ROY: Don't think about it, don't think about it.  
>NILEY: I can't believe it! I can't believe it! I could've been there, I could've protected them.<p>

Roy feels a sudden rush guilt as his eyes begin to water.

ROY: It's not your fault.

From behind, Jill, Olivia and Kirby enter, looking around as if they don't know where to go. Roy releases from holding Niley.

ROY: I'll be right back.

Niley nods like a little girl as Roy comes toward them.

ROY: Guys, what are you doing here?  
>JILL: (beat) I got a phone call.<br>OLIVIA: So did I.  
>ROY: (not getting) A phone call of what?<br>KIRBY: From the killer! You know, Stab?

Kirby does a stabbing motion... and realizes she's in a police station then pretends to be combing her hair back.

ROY: What are you talking about?  
>JILL: We think this might... mean something since my cousin's here.<br>ROY: (now he gets it) Do you really think...?  
>OLIVIA: It's possible... angel of death...<br>ROY: ... Niley discovered them.

They all look toward her, balling her eyes out.

JILL: Well if she wants to talk to us, she knows where she can find us.  
>ROY: Jill, what the fuck?<br>OLIVIA: I'm a bitch and even I think that's cruel.  
>KIRBY: I'm gonna go hug the shit out of her.<p>

Olivia and Kirby walk off to hug Niley, leaving Roy and Jill alone.

JILL: What did I tell you? You can't just come talking to me like that.  
>ROY: This is an emergency.<br>JILL: I can handle it. Like I said Roy... until Sid's gone... SPACE.

Jill walks over to Niley as well, joining the group hug. Perkins notices all the girls huddling around... so he goes in.

PERKINS: Can I help you ladies with somethin'?  
>JILL: Yeah, um... we received a call from the girls' phones this morning. The girls who died.<br>OLIVIA: It was from the killer.  
>PERKINS: The kill - - shit. Okay (takes out his notepad) what are your names?<br>OLIVIA: Olivia Morris.  
>JILL: Jill Roberts. It's Dewey, he should know me. I think, at least.<br>KIRBY: Yeah, he definitely knows me. Guilty for speeding.

She chuckles and realizes it's not the best moment for joking.

KIRBY: I'm gonna go back to consoling a loved one.

Kirby ducks back down.

PERKINS: Okay, and your numbers?  
>OLIVIA: Is that necessary?<br>PERKINS: Just uh... protocal... forget it, I'll go talk to the man up top. He's in an interview with Sidney though.  
>JILL: Wait, what? Sidney's here?<br>PERKINS: The one and only.

6.  
>CUT TO:<br>INT. ROBBIE'S ROOM - DAY  
>Robbie sits at the chair while Charlie sits at the bed.<p>

ROBBIE: We are on the cusp of greatness here, Charlie! I could be big if I get some exposure for this! Can you imagine? Holy shit!  
>CHARLIE: Hey Robbie, it doesn't bug you that those two girls were just butchered?<br>ROBBIE: Well yeah, it sucks, but c'mon, think of the upside here. My career, for their lives. They died for something and I want to make sure of it.  
>CHARLIE: You're sick. You know that? Something's wrong with you.<br>ROBBIE: Okay, okay. They were our friends at what point... and maybe it's the shock that results in me to feeling nothing.  
>CHARLIE: You can say that again.<p>

Nick climbs up from the window and into Robbie's room.

ROBBIE: Whoa, what are you doing?

Nick notices Charlie's there.

NICK: Oh, I didn't know you... had company.

Charlie sits there... this is awkward.

ROBBIE: Yeah, so, leave.  
>CHARLIE: No need to be rude. I'll get going. Lemme know if there's anymore death for you to capitalize on, future Male Weathers.<br>ROBBIE: Male Weathers, that's funny.

Charlie climbs out the window and leaves the two alone.

ROBBIE: What the hell are you doing?  
>NICK: I wanted to see you, see if you were okay.<br>ROBBIE: I'm fine.  
>NICK: Weren't they your friends?<br>ROBBIE: (beat) Were... look, I don't wanna think about it. It's better that way and keeps me distant from everything.  
>NICK: That's not healthy, Robbie. (beat) I haven't got my invite to Stab-A-Thon yet...<br>ROBBIE: I didn't send you one.  
>NICK: ... well why not?<br>ROBBIE: Didn't... think you'd wanna go?  
>NICK: I do, I love Stab... who doesn't in this town, right?<p>

Robbie just nods... and avoids the subject all together.

ROBBIE: I gotta get back to my site. Alot of updates to take care of.

CUT TO:  
>EXT. SANTA MONICA PIER - SUNSET<br>Roy opens the door for Niley and takes her by the hand, leading her toward the beautiful pier. He throws his arm around her, trying to make her feel better.

ROY: C'mon.

They walk up the steps and look out towards the setting sun. Niley's still a blubbering mess. They take a seat at a bench... and watch the sun fall.

NILEY: This is my favorite place.  
>ROY: I know. I thought it would help... for you.<br>NILEY: Thanks...  
>ROY: You're a good kid, Niley Krinkey. I don't want you to think otherwise. What happened... you couldn't have stopped it and... it's not your fault. These things... well they don't just happen, at least not to people like us... but... we'll be okay. I promise.<br>NILEY: It got me thinking, ya know? About my own... life. I wanna do something with it, Roy. I wasn't joking when I said I want someone to drive me around because I'm a successful actress.  
>ROY: Well I hoped so, your driving was shit.<p>

They both laugh.

NILEY: I realized... that maybe if it weren't for Cinema Club... maybe I wouldn't have wanted that. It was because you started this thing - -  
>ROY: At least someone recognizes that fact.<br>NILEY: - - then maybe Robbie and I... maybe we wouldn't have been anything. Maybe he wouldn't have shown me all those movies... maybe if Jenny said, let's have a Stab-A-Thon, I would've shown no interest and... I still wouldn't have been there... and they still would've died.  
>ROY: Surely there's a lot more implications if Cinema Club didn't exist but I get what you're saying.<br>NILEY: I want to become an actress... for them. I wanna make them proud. Jenny used to... love the movies. Maybe one day she can see me in one?  
>ROY: (smiles) That's a nice thought.<br>NILEY: One day... one day...

They both stop jabbering and look out toward the setting sun...

CUT TO:  
>INT. ROBERTS RESIDENCE - NIGHT<br>Kirby enters the house with Jill and Sidney. Dewey right behind them. Kirby's admittedly still a bit starstruck. Kate runs over, giving Sidney a hug.

SIDNEY: Hey Aunt Kate.  
>KATE: My Sidney. I've missed you.<br>SIDNEY: Me too.  
>KATE: You can stay as long as you want.<br>SIDNEY: Thanks but no offense, I hope it's not too long over this under these circumstances.  
>KATE: Ofcourse, ofcourse. I'm gonna make dinner, you hungry?<br>SIDNEY: Starved.  
>KATE: Okay, I'll make your favorite.<p>

Kate walks off. Rebecca now enters and looks at Sid.

REBECCA: I'm gonna go to the hotel. You'll be okay?  
>SIDNEY: Yeah, thanks Rebecca.<p>

Dewey waits around... like a patient boy...

DEWEY: Sid? A word?  
>SIDNEY: Sure.<p>

Kirby's still standing there, watching Sidney. Jill grabs her sleeve and pulls her.

JILL: Earth to Kirby.  
>KIRBY: Whaaa? Sorry.<br>JILL: Grab some plates, okay?  
>KIRBY: Yeah, yeah.<p>

Kirby walks off down the hall and toward the pantry. As she goes, she takes out her phone, quickly calling Robbie. He answers.

KIRBY: I am in the presence of a Goddess.  
>ROBBIE: Cher?<br>KIRBY: Sidney Prescott. And Dewey. Dewey's whatever, but the two of them together... that's epic.  
>ROBBIE: How'd you pull this feat off?<br>KIRBY: I asked if I could come back home with Jill. She's got the house guarded and everything.  
>ROBBIE: Score me a one on one with her.<br>KIRBY: I'd like to score with her...  
>ROBBIE: What?<br>KIRBY: Nothing. Sorry. I gotta go.

Kirby quickly hangs up and grabs the plates.

7.  
>CUT TO:<br>INT. CHARLIE'S ROOM - NIGHT  
>Charlie packs his bag, stuffing in the Ghostface costume. He's working on his own this time... and the nerves are getting to him. He looks at his meds... and pops open the lid. Two capsules go into his hand and he swallows it quickly.<p>

CHARLIE: 1...

He pours another capsule. ANOTHER TWO... but he only recognizes it at 1.

CHARLIE: And 2.

He swallows those as well. TWICE the amount he usually takes. He grabs the bag and opens his window.

CUT TO:  
>INT. JILL'S STREET - NIGHT<br>Charlie continues walking, trying to remain unnoticable as he goes towards Olivia's house. Olivia's car drives by and parks. He hides in a bush... trying to stay invisible... his phone beeps. He checks the text. It's from Jill, "we're watching Shaun of the Dead. Get her GOOD. Have fun. ;)"

It all becomes a bit more real to him now... he's really about to do this... Olivia's in the house... and Charlie moves forward. He stops again, throwing on the costume cloak and then the mask, trying to be as discrete as possible.

Hoss exits from the car and notices a ruffle in the bushes. He looks back down into the car.

HOSS: Perkins!  
>PERKINS: What?<br>HOSS: There's someone out there...  
>PERKINS: Where?<br>HOSS: At the Morris' house.  
>PERKINS: God dammit, if you just wanna see that girl in her undies...<br>HOSS: I'm not fucking around, seriously, something's moving...  
>PERKINS: Shit me not?<br>HOSS: I shit you not! THERE, it's moving toward the backyard! What the fuck is that? !  
>PERKINS: It's probably just a cat, Hoss, come on. If it was a person, you'd know.<br>HOSS: Too big to be a cat, c'mon! Get off your lazy ass and help me corner this thing to figure it out!  
>PERKINS: Fine, dammit! Let's go.<p>

Perkins jumps out of the car and they both head toward Olivia's house.

HOSS: Should I call it in?  
>PERKINS: And when we see it IS a big ass cat, embarass ourselves? We catch him and THEN call it in!<p>

They both split.

Charlie maneuvers around the backyard. Olivia's checking the mail on the kitchen counter... the backdoor slides open... and he slips through. Olivia has her back to Charlie the entire time as she shifts through the letters... as Charlie heads upstairs.

IN THE BACKYARD, Perkins and Hoss are coming back together.

PERKINS: Did you see anything?  
>HOSS: I'm not sure.<p>

They look in the house... Olivia's stretching as she makes her way up the stairs... TAKING OFF HER SHIRT.

HOSS: Oh, I see something now...  
>PERKINS: Let's get the hell out of here!<br>HOSS: Just one second, c'mon. We can enter, say we think we saw an intruder, maybe she'll be graceful. I get to go first though, I don't want seconds.

Perkins SLAPS the back of his head.

INT. OLIVIA'S CLOSET - CONT'D  
>Charlie waits... trying his best not to breathe too hard. He hears her light footsteps enter the room as she's walks about. Her phone rings and she answers. That's his cue. He looks down into his bag and pulls out his phone. He throws it back in and grabs Trevor's. He dials Jill's number.<p>

INT. JILL'S ROOM - CONT'D  
>Her phone beeps. Kirby quickly grabs for it to save the day.<p>

INT. GUEST ROOM - CONT'D  
>Sidney enters her little room set up for now... it's quaint... but it's not like home. She closes the door, trying to get at least a moments worth of privacy. There's a picture on the wall... and she goes toward it... it's her, a bit younger. Her mother, Maureen. Jill. And Jill's parents, Kate and Aaron. She looks at it admiringly... the old days.<p>

INT. JILL'S ROOM - CONT'D  
>Kirby paces around in mild, fake excitement. Jill gets up from the bed and looks out the window, the slightest of disappoints that slut isn't dead yet... but she remains patient...<p>

KIRBY: C'mon Mr. Ghostface, whisper to me! Aren't you supposed to - ask me a question?

INT. OLIVIA'S CLOSET - CONT'D  
>Charlie smiles under his mask... that teasing bitch.<p>

INT. GUEST ROOM - CONT'D  
>Sidney grabs a book from the shelf and plops herself down on the bed. She reads it... not really interested... her mind elsewhere... AND THEN A SCREAM ERUPTS FROM ABOVE. She throws the book down and charges out of the room with speed.<p>

INT. OLIVIA'S ROOM - CONT'D  
>Charlie PULLS THE KNIFE OUT OF OLIVIA'S SHOULDER. In the background, Jill and Kirby run to their window, SCREAMING. Charlie continues slicing toward Olivia as she tries to put up a fight. ANGRY SHE'S EVEN ATTEMPTING TO RID HIM OFF. His anger grows even more... the meds KICKING IN.<p>

Olivia throws misc crap from around her room at him. He blocks it and it flies across the room. Olivia's run out of ideas... she tries to go to the door, blocking with her hand as she does - - THE KNIFE PENETRATES THROUGH and he KICKS HER BACK into her dresser. He's not done. He grabs her and THROWS HER INTO HER MANTLE, smashing against it. He slices down - - SHE FALLS TO THE FLOOR AND HE MISSES.

She comes to a stand, RUNNING FOR THE DOOR WITH A CLEAR SHOT. SHE MAKES IT - - BUT WAIT - - THE KNIFE HITS HER BACK and HE SLAMS DOWN ONTO THE BED. He raises the knife, PLUNGING IT INTO HER STOMACH. Like a madman out of control, he continues to STAB HER. He knows from this angle, Jill can watch perfectly, just like she wanted. STAB! STAB! STAB! Olivia's blood SPLATTERS ACROSS THE ROOM. It's fucking ridiculous the amount of blood going everywhere from the strong stabs digging deep into her abdomen.

He looks at Jill across the way... one last bit of showmanship. He picks Olivia's limp body up and SMASHES HER HALF WAY OUT THE WINDOW. He points towards Jill, "THIS IS FOR YOU." He turns Olivia over and STABS INTO OLIVIA'S GUT ONCE MORE - - AND SLICES HER OPEN. Her intestines SPILLING UP HER CHEST AND DOWN HER FACE.

Jill is much pleased, despite the award worthy performance she's giving now of being horrified. She's had enough though and watching any longer would be a suspicious. She grabs Kirby and they jet for the door. Charlie pulls Olivia's body back as he sees Sidney crossing the way and he THROWS OLIVIA'S BODY BACK ONTO THE BED. Glass breaks down below and he sets her body up nicely, PULLING MORE OF HER INTESTINES OUT onto the bed, just for show. The bitch - is - DEAD.

He runs back to the other room, getting one last good look for the angle on his camera and heads off. SIDNEY JUST MISSES HIM as she enters the room.

INT. OLIVIA'S PARENTS ROOM - CONT'D  
>Charlie waits, nearly giggling happy from what just occurred. He watches Sidney reaction, LOVING EVERY MINUTE OF IT and getting a bit of good footage to go along with it. She barely checked the open door... some heroine she is.<p>

He then realizes... he looks around, waiting for Jill so he can pull off her shining moment of close call with death. He comes to the window and looks out. Kirby's yelling at Perkins and Hoss to go towards the house. In the meantime... he might as well make a phone call...

INT. DEWEY'S ROOM - NIGHT  
>Dewey's taking off his clothes, getting ready for some sleep. The phone rings and he quickly answers it.<p>

DEWEY: Hello? (waits) WHAT? !

INT. OLIVIA'S PARENTS ROOM - CONT'D  
>Charlie then hears Jill...<p>

JILL (O.S.): She said you were the angel of death...

HE BURSTS THROUGH THE ENTRY WAY AND SLICES DOWN ON HER ARM. SIDNEY PRACTICALLY TACKLES HIM, THROWING HIM HALF WAY DOWN THE STAIRCASE ALONG WITH HER. They continue to struggle as Jill watches from above... loving... every... second.

Sidney KICKS Charlie in the face and he falls flat. She turns around and he quickly slides across the floor to a stand and BOOTS it for the door. Perkins and Hoss enter, guns drawn... and Charlie's already gone.

8.  
>CUT TO:<br>INT. JILL'S HOSPITAL ROOM - NIGHT  
>Jill sits in the hospital bed, gauze now wrapped around her arm. Trevor sits at her bedside... and then Charlie and Robbie enter. He gives her a moment with them... and leaves. Robbie takes off the headset, with all due respect.<p>

ROBBIE: Hey Jill.  
>JILL: (smiles... fake weakly) Hey.<br>CHARLIE: How's the arm?  
>JILL: (raises it up) No major arteries. Lucky me, right?<br>ROBBIE: You gonna be okay?  
>JILL: Yeah, it doesn't hurt too much.<br>ROBBIE: No, I mean... Olivia.  
>JILL: Oh... (starts the water works) I don't think it's hit me yet. None of this has.<br>CHARLIE: Well we're here for you.  
>ROBBIE: Want anything?<br>JILL: Some chocolate?  
>ROBBIE: You got it.<p>

Robbie ducks out... Charlie stays behind... and Jill smiles through her tears... and claps.

JILL: Now that? Was amazing.  
>CHARLIE: Thank you.<br>JILL: I didn't know you'd go that far.  
>CHARLIE: It was for you. I'd do anything for you.<br>JILL: Is that so? What about Kirby?  
>CHARLIE: We been through this.<p>

Jill reaches in her bag and takes out the tape recorder. She presses play...

JILL (O.S.): I think Charlie likes you.  
>KIRBY (O.S.) : And I like him. To tease, to torment, to make him squirm.<br>JILL (O.S.): You can do alot worse, trust me.

Jill pegs Charlie's slight reaction in his face... the utter disappointment... of just being a pawn to Kirby's attention whore-ness.

CHARLIE: I told you... I'm GOING TO KILL HER.  
>JILL: Oh, I know you will now. (beat) And Charlie? One more favor?<br>CHARLIE: What?  
>JILL: We don't want our movie getting too boring. Let's up the body count, yeah?<br>CHARLIE: Who?  
>JILL: That publicist bitch is disposable. She's parked on the 6th floor. Make it count.<p>

Charlie's still saddened by Kirby's choice of words... but he doesn't want it to sink through...

CHARLIE: It'll be epic.

He exits the room... leaving Jill behind. She looks at the tape recorder...

JILL: Desdamona's handkerchief...

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy is stopped in front of Niley's house. It's apparent he's just heard the news...

ROY: Your mom is home?

Niley just nods. And she continues to cry.

ROY: Don't worry. Okay? I'll be right back.  
>NILEY: You promise?<br>ROY: (beat) I promise. I just want to check on something.  
>NILEY: ... you're not a killer?<br>ROY: (smiles) No...  
>NILEY: (begins to exit... then stops) But what if my mom is? !<br>ROY: (beat) I highly doubt that.

CUT TO:  
>INT. JENNY'S HOUSE - NIGHT<br>The house is dark. Police tape blocking the entrance and the broken window. It's eerie... blood is still everywhere. A crime scene still in place that hasn't finished it's investigation... but in comes... ROY. With a flashlight in hand, he ducks under the police tape and enters the house. He looks around... and sees the horrific room where it all happened, only the bodies are gone.

ROY: Who the fuck would do this?

He continues to look around... trying to see if he can find ANYTHING. He takes note of the ductape on the chair... and the noose on the ceiling fan. There's a blood drag from down the hallway... and he follows it...

INT. JENNY'S GARAGE - CONT'D  
>Roy enters and looks around... the blood starts near the garage door. Something about this situation feels familiar to him... he looks up to the staircase that leads to the second story... bit more spots of blood. He returns back into the main room...<p>

INT. JENNY'S HOUSE - CONT'D  
>Roy turns around and enters back into the room... AND IS TACKLED TO THE GROUND. HE TRIES TO RISE BUT THEN LOOKS UP - - DEPUTY HICKS POINTS THE GUN DIRECTLY AT HIS HEAD.<p>

HICKS: FREEZE!

Roy raises his hands... and he sighs. He knows this looks suspicious as all hell... well... SHIT.

SMASH TO BLACK!

* * *

><p>The site is acting funny and won't let me put up part 2! Maybe it's because I posted 5 chapters today so I'll wait till the morning and see if it works this time without error. Sorry about that!<p>

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	43. SERIES FINALE: Jill's America: PART 2

1.  
>OVERBLACK:<br>A phone rings. Definitely a cell phone this time.

OPEN ON:  
>A cordless home phone. Dammit. I'll get this right one of these days.<p>

PULL BACK TO REVEAL:  
>INT. LYNN'S ROOM - NIGHT<br>Lynn grasps for the phone and holds it to her ear. She doesn't have the fortune of caller ID. It's clear already she's shit out of luck.

LYNN: Hello?  
>VOICE: Hi there.<p>

PULL BACK - - Lynn's sitting on her couch with Amanda and Taylor, watching the news. Footage of Rebecca Walters smashing into the television van is on replay over and over again for the whole world to see.

LYNN: Who's this?  
>VOICE: Tell me your name and I'll tell you mine.<br>LYNN: Okay fucker, bye.

Lynn hangs up and places the phone back on the charger.

AMANDA: Another prank phone call?  
>LYNN: Don't they see this shit on TV. Don't they know REAL people are dying out there?<br>TAYLOR: A lot of sick people out there, Lynn.  
>LYNN: Tell me about it. Anybody want another beer?<p>

Lynn jumps up and heads to her mini fridge.

AMANDA: No, I'm gonna head home.  
>LYNN: What? That's the worst idea ever.<br>AMANDA: Why's that?  
>LYNN: Stick in packs. Safer that way with a killer on the loose.<br>TAYLOR: Well if I learned anything from what's going on, the killer is only picking off people Jill knows.  
>LYNN: And I know her through association. Kirby?<br>AMANDA: Then I'm LESS safe here now.

They all chuckle.

TAYLOR: But seriously, what... what happened between you two?  
>LYNN: (returns back to the couch with new beer) She's in denial.<br>AMANDA: Shame. Sweet ass like that...  
>LYNN: Watch your mouth, she's not meat.<br>AMANDA: Don't act like you're in love, you two went to second base upon meeting.  
>LYNN: I was drunk.<br>TAYLOR: You're always drunk.  
>LYNN: And I'm always going to second base with girls I meet. Win-win.<br>AMANDA: But seriously, I'm heading out.

Amanda comes to a stand, putting on her jacket. The phone rings.

LYNN: Okay, last one and I'm unhooking this fucking phone until they ultimately catch these fuckers. (answers) Hi, prank call #77. How are you?  
>VOICE: Tell your friend if she leaves, she'll end up just like Solai.<p>

Lynn pauses. She has no idea what's happened...

LYNN: (to her friend) Turn that down, they're talking about Solai.  
>AMANDA: Is it her finally returning her phone calls and texts?<br>LYNN: No, sh. (back to the phone) Hi, what were you saying?  
>VOICE: I was saying... if Amanda leaves... I'll carve her face like a fucking pumpkin. She's so - pretty.<p>

Lynn's terrified... this doesn't seem like a joke.

LYNN: How'd you know she was about to leave?  
>VOICE: I think you know...<br>LYNN: You can see us?  
>TAYLOR: WHAT? !<br>VOICE: Bingo. In fact, I'm right outside the door.  
>LYNN: Good, because I'm calling the cops!<br>VOICE: With all that havoc going on at the hospital? They'll never make it in time...  
>LYNN: I'll press my luck.<p>

SHE HANGS UP and immediately starts dialing 9 - 1 - THE LIGHTS GO OUT, along with the electricity.

TAYLOR: What's happening? !  
>LYNN: He cut the power! FUCK! Call 911 on your cell phone!<p>

THERE'S A KNOCK AT THE DOOR! They all jump and scream in unison. Lynn starts to slowly move forward.

TAYLOR: (waiting for 911 to answer) Is he in the fucking house? ! Are you kidding me? !  
>AMANDA: What are you doing? !<br>LYNN: Sh, just let me see...  
>TAYLOR: (on the phone) Hi, I'm at 4021 Arnett Lane, right across from Boro Fitness. We're getting malicious phone calls and I think it's for real. And they're in the house terrozing us! (waits) No, this is NOT a prank.<p>

Lynn inches closer to the door... and she presses herself up to the custom made peep hole to look out into the hallway...

AMANDA: What do you see? !

Lynn's head tilts forward, cautious... the GHOSTFACE MASK is still, against the peep hole.

LYNN: He's right... outside... the door.

Lynn puts her hand on the door knob.

AMANDA: Well don't open it!  
>LYNN: Get a knife or something! Come here!<p>

Amanda quickly listens and grabs a steak knife set onto the table top, setting her elbow into stab position. Lynn looks at Amanda... getting ready...

LYNN: 1...

Taylor moves back, still on the phone... scared of what's gonna happen next...

LYNN: 2...

Amanda's arm SHAKES uncontrollably... but by God, she will stab the first mother fucker to come through that door.

LYNN: ... 3!

LYNN POPS OPEN THE DOOR. The Ghostface masked person FLOPS to the floor, a BLOODY MESS. Amanda drops the knife and Lynn kneels down, pulling them all the way in. Amanda SHUTS THE DOOR and watches Lynn.

AMANDA: Careful...

Lynn slowly moves her hand for the mask... Taylor's still near the couch, practically shitting her pants.

TAYLOR: (into the phone) Okay, thank you, please hurry! There's a body in here now! (waits) Yes, a fucking body, I don't know how else to describe it!

Lynn looks back up at Taylor... then to Amanda... and then back down at the mask. Her hand touches it... AND SHE PULLS IT OFF. Amanda SCREAMS at the sight. Lynn is purely SHOCKED. Taylor can't see.

TAYLOR: What the fuck is it? !

Lynn shakes... looking down at SOLAI'S FACE - - her mouth ripped open... from ear... to ear. And her eyes cut out in triangles... just like a pumpkin.

AMANDA: I'm leaving!  
>LYNN: No, stay inside!<p>

Taylor's phone rings. She answers...

TAYLOR: HELLO? (waits) What? What's first?

A CHAIR FLIES THROUGH THE WINDOW IN HER DIRECTION. Amanda books it and OPENS THE DOOR. Silver slashes directly into her throat with a STAB - - and she DROPS like a bag of potatoes. GHOSTFACE PULLS HER BODY OUT of the way and LYNN SLAMS THE DOOR locking it. Lynn and Taylor step back into the house, more terrified than ever.

LYNN: Somebody please! Somebody help us!  
>TAYLOR: Oh my God, WHAT THE FUCK DO WE DO? !<p>

THE KNIFE PENETRATES INTO THE WOODEN DOOR.

LYNN: Okay, he's distracted, let's go out the balcony!  
>TAYLOR: Are you crazy, that's a 20 foot jump!<br>LYNN: It's our only option, do you wanna stay here and die? !

Taylor looks at the balcony through the glass smashed window... SHIT. She runs for it, Lynn following behind.

EXT. LYNN'S HOUSE - CONT'D  
>Lynn looks down below and starts to climb the railing. She looks back into the house, the knife still trying to break it's way through the door. Taylor's petrified.<p>

LYNN: C'mon, Taylor!

Lynn climbs down, trying to hang off the side to make the fall less steep. She holds onto the railing, pushes herself outward with her feet. She keeps looking down... AND SHE JUMPS! She LANDS... SAFE! She falls to the ground and quickly gets up. She looks up at Taylor now climbing over the railing.

TAYLOR: Oh my God, I can't do this!  
>LYNN: Jump you stupid bitch!<br>TAYLOR: It's too far!  
>LYNN: I'll catch you, just fucking jump!<p>

Taylor closes her eyes... prepping herself to go... one finger lets go... two fingers... three fingers... she squeals as she knows the drop is coming... AND SHE FALLS. Lynn tries to manuever under her - - and as she said, CATCHES HER in her arms. They both SLAM hard into the ground, but at least Taylor's fall was softened by Lynn's body. Lynn tries to get up and she looks at Taylor.

LYNN: You did it!

She looks at her hand... blood. She turns Taylor over - - her chest has a deep stab wound into it... and she's dead. Lynn screams and looks up - - GHOSTFACE STANDS AT THE LEDGE and returns back into the room. Lynn quickly pushes Taylor's body off her and she comes to a stand - - but immediately FALLS. She looks back - - A BONE IS POPPING OUT OF HER ANKLE.

LYNN: FUCK!

Catching people falling isn't such a good idea afterall. And in due time, GHOSTFACE APPROACHES HER FROM BEHIND after exiting the backyard door. Lynn tries crawling away with her one good leg and hands. Ghostface stops... and notices garden shears in the bushes. He holsters the knife, picks up the practically-a-large-pair-of-scissors and stalks behind the wounded Lynn.

LYNN: SOMEBODY HELP ME! PLEASE!

Ghostface opens up the shears and RAISES IT OVER HIS HEAD.

LYNN: HELP ME!

Ghostface KICKS HER OVER onto her back. She tries to kick at him but he SLICES AT HER FEET with the shears. Quickly, he PLUNGES THE OPEN SHEERS DOWN TOWARD HER HEAD. She winces, eyes closed... and opens her eyes... she's still alive... the shears are dug deep into the soil on both side of her neck. She giggles a bit... but Ghostface tilts their head.

LYNN: FUCK YOU!

Ghostface comes to a stand... AND RAISES HIS BOOT... her eyes open wide. AND SHE GIVES HER FINAL SCREAM. The boot CRASHES DOWN onto the middle, the open scissor sheers DIGS INTO HER NECK. SQUISH, CRUNCH, SPLAT!

SMASH TO BLACK.

2.  
>FADE IN:<br>EXT. POLICE STATION - MORNING  
>A MOB of people stand outside the station, yelling and screaming toward the doors. Some hold signs with a Ghostface mask on it, "GHOSTFACE HUNT" written above it.<p>

INT. HOLDING CELL - CONT'D  
>Roy sits on the bench, his hand in his palms. It's been a long night. The door opens and in comes Chief Dillinger. He chews some bubble gum and stares directly at Roy... he knows this sonofabitch did it.<p>

DILLINGER: Do you know who I am?  
>ROY: (beat) Am I supposed to?<br>DILLINGER: We're gonna get to know each other real well, Roy, wanna know why?  
>ROY: Enlighten me.<br>DILLINGER: Just a second. You sit tight.

Dillinger exits. Roy's facial expression goes from tired to "what the fuck was that about?" Dillinger re-enters, wheeling in a TV set. He turns it on and the news come on. It's an aerial shot of the police station - - DOZENS OF PEOPLE outside.

DILLINGER: Know what that's called? It's a lynch mob. And they got a noose with your name on it.  
>ROY: I'm not following.<br>DILLINGER: They know as well as I do that you killed those girls. They're settin' up a "Ghostface Hunt" and you're prime suspect number 1...  
>ROY: I did nothing! And I don't even know why you're here!<br>DILLINGER: I'm the chief of the SWAT team for this county, you understand? My team and I have the unfortunate job to protect you while this situation escalates outside in case it gets ugly, WHICH IT MIGHT. But if you confess right here, right now, we can take you to somewhere else a bit more disclosed. Finish my day real early like and all this shit will go away. No more killings, no more Ghostface Hunt and no more you. Got that?  
>ROY: I didn't kill anybody. GOT THAT?<br>DILLINGER: You just happen to walk into the house of a victim and hang out there from time to time? Tidy it up a bit?  
>ROY: I was investigating.<br>DILLINGER: You could've ruined evidence doing that, son. That right there is tampering an investigation and that right there is good enough reason for your arrest. Ain't enough to get you out of here but it's sure enough to keep you in the hot seat.  
>ROY: Don't play high and mighty with me, okay? We both know the police force around here is incompetant. They won't figure out SHIT, which is exactly why I'm here, isn't it? They're so stupid they can't see what's in front of them so they throw me in here for good measure. Act like they're doing something.<br>DILLINGER: Do you know who the killer is?  
>ROY: Not yet, but I will.<br>DILLINGER: Then SHUT UP!  
>ROY: And usually it's killerS, as in plural.<br>DILLINGER: Are you admitting to having an accomplice in on these murders?  
>ROY: I didn't say anything, I'm just saying - -<p>

Dillinger steps aside and talks into his walkie.

DILLINGER: Suspect just confirmed there is another suspect still on the loose, stay alert.  
>ROY: Hey, I didn't confirm anything!<br>DILLINGER: I'm watching you, Roy! I know your type! Just shut up and sit down!  
>ROY: I am sitting!<br>DILLINGER: I said shut up!

Dillinger exits.

ROY: What the fuck, man.

WE SLOWLY ZOOM IN ON ROY...

3.  
>CUT TO:<br>INT. WOODSBORO HIGH - HALLWAYS - MORNING (ALT UNIV)  
>It's a chipper day at Woodsboro High. Everything appears to be normal. Jill is at her locker, taking out books. And from behind her comes... JENNY.<p>

JENNY: Hey BFF.  
>JILL: Heeeeey. Did you do homework for English?<br>JENNY: Yeah.  
>JILL: Can I copy it? Just last night, me and Sid were out all night and I just... you know.<br>JENNY: Ofcourse... so when will I get to meet this wonderful lady?  
>JILL: Come over after school, I'll introduce.<br>NILEY (O.S.): You'll introduce who?

They both turn around - NILEY. But it's not the Niley we usually know... her hair is blonde. Fitting... right?

JILL: I was just talking about Sidney.  
>NILEY: Who's Sidney?<br>JILL: My cousin.  
>JENNY: From the Stab movies! Sidney Prescott! You know, we talk about it all the time!<br>NILEY: Oh... yeah, I don't know who that is.  
>JILL: (smirks) I guess it's good to know some things will never change when it comes to Niley.<br>NILEY: That's why I'm lovable, adorable and cute.

Robbie comes forward.

ROBBIE: You forgot "and a matchmaker."  
>NILEY: You could give me wings and little arroooows. (she makes a heart sign with her hands) Like Stupid.<br>ROBBIE: You mean Cupid?  
>NILEY: No. Stupid, stupid.<p>

Robbie shakes it off.

JENNY: What happened, Robbie? Finally meet "the one?"  
>ROBBIE: Well... I don't want anything to be premature but... Ollie and I have been talking.<br>JENNY: Oh, the quarterback? He's finally out in the open?  
>ROBBIE: He's working on it. I've been telling him ever since I came out last year, things have been picking up for me.<p>

Charlie now comes, coming to his locker and beside him... CHELSEA.

CHARLIE: I remember that day like it was yesterday.  
>CHELSEA: Bonus points because he came out to me first!<br>CHARLIE: Bullshit, it was me first!  
>CHELSEA: Fuck that, me!<br>CHARLIE: Me!  
>CHELSEA: Me, SUCKA!<br>NILEY: Stop fightaaaaaang!  
>CHELSEA: (whispers) Me.<br>ROBBIE: Okay, do you really wanna know who was first?

Kirby now arrives.

KIRBY: This bitch!  
>JILL: Kirby? Of all people.<br>KIRBY: Hey, I'm a good listener.  
>JENNY: When there's not a tongue down your throat.<br>KIRBY: Me and my boyfriend have a healthy make out schedule. He should be here in a minute, actually.

Kirby and Chelsea eye each other real quick. The faintest of looks... but there's something about it that says there's history behind this last comment that makes Chelsea uneasy.

NILEY: So why did you tell Kirby first?  
>KIRBY: I confess, I got him nice and drunk.<br>CHARLIE: Sounds like my style.

Robbie looks off to the side.

ROBBIE: All hail queen super bitch.

Olivia and her team of mermaids pass by. Jill and Olivia scowl toward one another as they pass.

OLIVIA: (to her friends) And to your left, the bottom of the totem pole.

Her friends all giggle as they all pass.

CHARLIE: I think she's hot. I don't care. She could be a bitch to me all she wants.  
>ROBBIE: Well than go for it, buddy.<br>CHARLIE: I just might.  
>JILL: I strictly forbid it! Hey everybody, disperse! You're crowding my locker!<br>NILEY: But this is the funnest part of the daaaay!  
>JILL: But seriously, whoever wants to meet my famous cousin, come by later today and I'll cordially introduce you all.<br>KIRBY: I call dibs on being first in line.  
>NILEY: I call dibs on the Dibs!<br>JILL: (smiles) There's no line.  
>CHELSEA: But if there was one, seriously, me. I think I deserve it.<br>JILL: What'd you do so special?  
>CHELSEA: Finally paid off that L.A. debt between Trevor and I. (Napoleon Dynamite voice) Yesssss. (back to normal voice) Although it did set me back a year in my education, working to try and pay it off.<br>ROBBIE: You two are party animals. You'll make quite the explosive couple.  
>CHELSEA: I hope you mean that platonically. In fact, I was thinking, ya know, Jill, you might like him.<br>JILL: (blushes) No. I don't need a boyfriend.  
>CHELSEA: I didn't say date him. (whispers) Just fuck him. I've heard rumors that he's a quality lay.<br>JENNY: (sarcasm) Oh, because that's ideal.

Roy now approaches the group. They all shout out his name at the same time like it's "Cheers" or something.

ROY: Yeah, you guys are funny.

Kirby lights up at his presence. The bell rings and they all quickly begin to spread out.

ROY: That's what I get for coming late to school, I miss the pre-homeroom gather-around-Jill's-locker gossip time.  
>JILL: You can't always make it on time, Roy. It must be a curse.<p>

Jill now leaves... and Kirby stays behind. She smiles at him.

MUSIC CUE: [youtube. com/watch?v=FkzlTsRC9a8]

ROY: (beat) Hey.

(0:10)Beat.

KIRBY: Hi.

(0:17) And just then, PRICHARD comes up from behind and smacks her on the ass. Kirby smiles happily and jumps into his arms, hugging him tight.

KIRBY: You're here!  
>PRICHARD: With your coffee, as you asked. Woke up early and everything just to bring it to my little senior, about to graduate.<br>KIRBY: Shut up.

(0:27) Roy watches... as they embrace each other... slowly move in on him as he looks at the two.

(0:39) In slow motion... it's easy to see they're happy... in fact... Kirby has an engagement ring on her finger. He lifts her up and snuggles into her neck. She laughs... it echos... Roy sighs... but smiles at the fact that they're happy. They look so perfect together...

(1:00) And then they kiss. This is where Roy now starts to feel awkward for looking so he looks down. And then back up... just so he can get another look at Kirby... he feels like maybe he won't get to see her too often after high school ends... that smile... her skin... her glowing long hair... her laugh... or her slightly raspy voice... to him, it's perfection...

(1:31) Kirby realizes she's being impolite. Prichard nods to Roy. Roy nods back, just to be nice.

KIRBY: Hey, so we'll chat later, right?  
>ROY: Yeah, at lunch or something.<br>KIRBY: Cool. I'll see you later, Roy. Popper.

(1:48) He smiles... They turn around... she gives a cute wave... and make their way down the hall. Roy feels frozen... like he can't move... Roy watches them go. He looks down... saddened and turns to his locker.  
>(2:00) He opens his locker and out falls a picture. He looks at it for a moment... it's of him and Kirby... and he can't help but wish things were different... that he was the one who had her... but she's happy... and that's all he could honestly want... for that beautiful woman... to stay happy as can be... for as long as possible.<br>(2:26) He looks back up... as Kirby and Prichard walk down the hall together... hand in hand... and there's nothing... he can do.

FADE OUT.

4.  
>FADE IN:<br>EXT. WOODSBORO HIGH - MORNING  
>Back to the real world. Stark and murky. People chat like normal... but there's something off about today. And nobody knows that more than Louis. He makes his way toward the entrance and to their usual tree. Boris and Leo sit on the ground.<p>

LOUIS: Now Olivia. Jesus fuck.  
>LEO: Cold, man. Just cold.<br>BORIS: You hear about who they arrested?  
>LOUIS: Who?<br>LEO: ROY. POPPER.

The soundtrack thuds.

LOUIS: They think he did it?  
>LEO: There's an entire "Ghostface Hunt" going on, man. Mobs of people out side there now who wanna hang him for what he... supposedly... did.<br>LOUIS:... it's him. I just fucking know it.  
>BORIS: But likely, there be another killer.<br>LOUIS: That's right, my Russian friend. Likely.

Will now walks over to them, a big smile on his face.

LOUIS: The fuck you so happy about?  
>WILL: Haven't you heard? After school sesh in the Cinema Club, Sidney Prescott will be making a special appearance. Oh and Gale Weathers but that's whatever.<br>LOUIS: FOUR PEOPLE ARE DEAD, WILL. What about that?  
>WILL: Sorry, man...<br>LOUIS: We gotta catch this other fucking guy. Start our own Ghostface Hunt.  
>WILL: Ghostface Hunt?<br>LOUIS: These cops ain't gonna find 'em, man. And who's next to die? Huh? Me? You? Fuck that. We're catching this guy.  
>WILL: Well okay, so we catch 'em and then what? Turn 'em in? We'll get no credit.<br>LOUIS: I ain't gonna turn 'em in.  
>LEO: What are you gonna do?<br>LOUIS: What WE are gonna do... we're gonna beat the living shit out of them... torture them for the shit they've done...

Leo's eyebrows raise... that's... weird.

LOUIS: We could be next, man! Fuck if I let them run around. Or maybe even get away. And then throw them in jail, all they'll do is feed 'em and fuckin' give 'em a roof! Fuck that!  
>BORIS: He is right.<br>LEO: It's a little extreme.  
>LOUIS: Extreme measures need to be taken. You're with me, right Boris?<br>BORIS: Yes, we should do this.  
>LOUIS: Leo? What do you say? Help us catch this guy with your expertise.<br>LEO: I ain't gonna... hurt anybody though.  
>LOUIS: You don't have to, I'll beat them with my own fists.<br>LEO: Okay... than I'm in.  
>LOUIS: Will?<br>WILL: I don't know...  
>LOUIS: C'mon man, we need at least four. With four of us, sure we can get more. Easier it is to find 'em.<br>WILL: It's a little crazy.  
>LOUIS: Do you wanna die? Want one of your family members to be gutted like Marnie, Jenny or Olivia? Or what about anyone else at this school, huh? How would you feel if someone else died and you knew you could've stopped it or at least tried?<br>WILL: Okay. Fine. I'll help  
>LOUIS: We'll start at Stab-A-Thon. Figure it out after that.<p>

CUT TO:  
>INT. WOODSBORO HIGH - HALLWAYS - MORNING<br>Niley walks alone down the hallway... she's never looked so frumpy before. No make up, her hair unkempt. Her eyes red from a night of crying. And worst of all... alone. She looks up, Kirby's walking toward her.

NILEY: Kirby?  
>KIRBY: Yeah, sweetie?<br>NILEY: (beat) Can I... hang out with you? I have no one.  
>KIRBY: Ofcourse. And don't you worry, I'm sure they'll let Roy go soon enough.<br>NILEY: I told them he was with me that night and nobody listened!  
>KIRBY: It's just weird if he's there after the fact, that's all, honey.<br>NILEY: I don't know what to do! I'm so scared!  
>KIRBY: Well don't worry, you're sticking with me today. It'll be me, you, Charlie and Robbie, all day and we'll go to Stab-A-Thon, stick together and everything. Right?<br>NILEY: (nods sweetly) Sounds good. But what about Jill?  
>KIRBY: Eh, she couldn't come out today. Stuck at home.<p>

CUT TO:  
>INT. ROBERTS LIVING ROOM - DAY<br>Jill is bored out of her mind... sitting at the table... with Dewey across from her... and a game of Chinese Checkers between them.

JILL: It's your move.  
>DEWEY: I'm just trying to figure this out.<p>

CUT TO:  
>INT. WOODSBORO HIGH - HALLWAYS - DAY<br>Shirley Mack sniffles into a tissue paper in the hallway. Kirby walks by... and usually she wouldn't give two shits... but surely this is about her recenrly deceased friend. Kirby comes forward.

KIRBY: Hey Shirley.  
>SHIRLEY: Hi.<br>KIRBY: It's gonna be okay.  
>SHIRLEY: It's my fault.<br>KIRBY: No, it's not.  
>SHIRLEY: She was at my house and I told her to leave. If she would've stayed... she'd still be alive...<p>

Kirby can't help but feel bad... Mr. Leeds passes by from behind.

MR. LEEDS: Kirbiline.  
>KIRBY: Hi, Mr. Leeds.<p>

Shirley walks off, still crying. Kirby wants to aid her... but oh well.

MR. LEEDS: If you need anything... anything at all...  
>KIRBY: You're my guy.<br>MR. LEEDS: (creepy beat) Yeah... I'm your guy.

Kirby smiles and walks off - CHELSEA STANDING DIRECTLY BEHIND HER. Her body is more decayed than ever, literally FALLING APART moment by moment.

CHELSEA: You get that thought right the fuck out of your head, right now!

Leeds rolls his eyes and continues walking. Chelsea follows behind.

CHELSEA: Is that what you want? Huh? HER? You want HER instead of me? To be your NEW infatuation? What about me? What about what you did to me? Don't I deserve a little more respect? Hey, I'm TALKING TO YOU!

Chelsea stops, knowing it's useless. Mr. Leeds disappears into the crowd.

CHELSEA: You can't get rid of me! I WON'T LET YOU!

5.  
>CUT TO:<br>INT. LUNCHLINE - DAY  
>Niley, Kirby and Robbie all stand in the lunchline, picking out their food. They can't help but now realize... everyone seems suspicious.<p>

KIRBY: (whispers to Robbie) Who do you think it is?  
>ROBBIE: Real question is... who do I think didn't do it?<br>KIRBY: Is it just me or does everyone suddenly look very suspicious?  
>ROBBIE: No, that's really happening.<br>NILEY: 10 o'clock.

They both look to their left. Nick is staring at Robbie intensely from the other side of the food line.

KIRBY: Jesus. That's a killer if I ever saw one.  
>ROBBIE: He's harmless, trust me.<br>KIRBY: Everyone seems harmless! That's why they get away with killing people! It's someone we know, Robbie. Someone close to us. Jenny used to be our friend, that's a fact. Olivia is our current friend. Rebecca Walters was Sidney's publicist. This isn't random. Someone is choosing these people very carefully and I think it has to do with us.  
>ROBBIE: Typical teenage outlook on life. I'm trying to remain optimistic that not every situation that occurs is about us.<br>KIRBY: Maybe you're right. (beat) What if Roy did do it?  
>NILEY: How could you even say that? !<br>KIRBY: Sorry. Okay... who is creepy... who do we know that knows us or sorta knows us...  
>ROBBIE: Louis. That's my guess.<br>KIRBY: Possibly. But my main suspect... Trevor.  
>ROBBIE: What, a Jill infatuation as his motive?<br>KIRBY: Totally plausible, I assure you. I've seen the guy, he's always staring us down. Trying to be intimdating. Plus, think about it... the murders on the same day as the anniversary almost.. almost like they're copying the original. And who was the killer in the first Stab, Robbie?  
>ROBBIE: Holy shit, you're right... Sid's boyfriend.<br>KIRBY: I'm telling you... it's HIM.

CUT TO:  
>INT. JILL'S LIVING ROOM - DAY<br>Jill and Dewey are still playing Chinese Checkers. Jill's phone rings. She quickly answers and Dewey's quick to put his hand on his gun.

JILL: Just relax!

Jill gets up and moves to the kitchen.

INT. ROBERTS KITCHEN - CONT'D  
>Jill gets out of ear shot of Dewey and presses herself against the wall.<p>

JILL: Why are you calling?

INTERCUT WITH:  
>EXT. WOODSBORO HIGH - FOUNTAIN<br>Charlie sits all alone as he begins to look down at his food with the phone to his ear.

CHARLIE: Guess what?  
>JILL: What?<br>CHARLIE: I got some extra footage last night.  
>JILL: What does that mean?<br>CHARLIE: I took the initiative. Lynn, Amanda, Taylor...  
>JILL: Are you saying what I think you're saying?<br>CHARLIE: I got good footage, don't worry.  
>JILL: DELETE IT.<br>CHARLIE: What? Why?  
>JILL: Because we're not going to use it. I asked you to do ONE thing, not go off on a whole other escapade.<br>CHARLIE: I was doing rewrites... like you do.  
>JILL: No, Charlie... that's my job. Why didn't you ask me first?<br>CHARLIE: You were in a hospital with someone by you every two seconds.  
>JILL: (sighs) Where'd you put them after?<br>CHARLIE: Nobody will find 'em, don't worry. Body count will still look normal. Plus I wanted practice for tonight. HEY, by the way. Those pain meds we got back in Colorado... fucking epic. When Sid kicked me in the face... I didn't feel shit.  
>JILL: I guess you're really fucking cool, aren't ya Charlie?<br>CHARLIE: What's wrong? I'm sorry about getting more footage.  
>JILL: That's not it.<br>CHARLIE: ANYWAY, last night, something else cool happened. Gale is interested in Robbie and I. Told her about the Cinema Club.  
>JILL: Why the hell would you do that?<br>CHARLIE: Check it, we needed an injury for the Stab-A-Thon scene, right? I'm gonna plant some seeds, get her interested and tell her she can't come. More than likely she'll show up. Fall into our trap.  
>JILL: I guess that's good work. Don't be too obvious.<br>CHARLIE: I won't.

Niley quickly runs over and grabs the phone.

NILEY: Go for Niley.  
>JILL: Hi, Niley?<br>NILEY: Hi Jillllll, I miss you.  
>JILL: What are you - doing with Charlie?<br>NILEY: About to eat. Kirby said I can hang out with you guys today. And look, I wanted to say, sorry for what happened all those months ago. I was immature and as you know, Robbie and I worked it out. So you forgive me?  
>JILL: (smiles... she's too cute) Ofcourse, Niley.<br>NILEY: And Kirby said we're gonna hang out all night and stay side by side. So that means Stab-A-Thon and whatever after-parties.

This crushes Jill's heart... this is the last thing she wanted.

JILL: Niley, listen to me, DON'T GO to those things. Just stay home, it's safer.  
>NILEY: Why?<br>JILL: Just listen to me, PLEASE. Stay home. Kirby will just get you into trouble and besides, you can't trust anybody.  
>NILEY: But I don't wanna be alone.<br>JILL: Just for tonight, okay? You listen to me, YOU STAY HOME. You got it? Niley, tell me you understand.  
>NILEY: I understand. I'll stay home.<br>JILL: Good, Niley.  
>NILEY: Okay, byyyyyye.<p>

Niley hangs up the phone and sits down next to Charlie. She hands him back the phone and realizes it's off now.

CHARLIE: I wasn't done with that conversation, you know?  
>NILEY: I didn't know you were talking to anybody...<p>

Charlie just looks at her wide eyed...

6.  
>CUT TO:<br>INT. KIRBY'S CAR - NIGHT  
>Kirby parks in front of the barn, looking on at Stab-A-Thon. NILEY in the passenger seat...<p>

NILEY: You go ahead. I'll stay here.  
>KIRBY: You sure?<br>NILEY: I'm gonna nap in the trunk.  
>KIRBY: Ohhh... kay. Be back in thirty.<p>

Kirby dials a number as Niley struggles to make her way towards the open trunk of the mini-SUV.

KIRBY: Get your ass out of my face!  
>NILEY: Sorry!<p>

EXT. STAB-A-THON - CONT'D  
>Trevor sits with Chantelle and Maya as he watches Kirby pass by on the phone.<p>

TREVOR: Hey Kirrrby.

She flips him and keeps walking. The girls start to flirt with him.

CHANTELLE: I've always been curious about you, ya know?  
>MAYA: Yeah, me too.<br>TREVOR: Ladies, ladies, I'm sorry but... you know, I'm trying to win Jill back.  
>CHANTELLE: Don't let that stop you.<p>

He sighs... and gets up and pardons himself.

TREVOR: I'm sorry but I must do right. Thank you for the kindness.

He walks off and heads to the barn, leaving Chantelle and Maya alone. They both look at each other.

CHANTELLE: Back to my place?  
>MAYA: Sure.<br>CHANTELLE: It's a long waaalk.  
>MAYA: Fuck it.<p>

INT. JILL'S ROOM - NIGHT  
>Jill sits on her bed, her laptop before her. She cracks her knuckles, readying herself. Her phone rings. It's Charlie. She answers.<p>

INTERCUT WITH:  
>INT. BARN - SIMULTANEOUS<br>Nick is talking to Robbie in the background. They try to be secretive about their chat. In the foreground, walking away from them, is Charlie. Robbie doesn't even notice he's gone.

JILL: Speaking.  
>CHARLIE: Lights. Camera.<br>JILL: Action?  
>CHARLIE: She's setting up her own surveillance.<br>JILL: Well than take them down and put me up. I want a good shot of this attack and I wanna make sure it's perfect.  
>CHARLIE: Yes, princess.<p>

Charlie hangs up and does as he's told.

BACK TO JILL -  
>She waits patiently. Her screen is still blank. She then jumps up, as if she now remembers. She clicks on to her IM screen, clicking Kirby's phone number. She writes her and clicks send. She waits merely just a minute. Kirby responds.<p>

JILL: Presto. Just what I needed.

Jill then goes back to patiently waiting.

JILL: C'mon... c'mon... don't got all day.

THE SCREEN COMES TO LIFE with a view of the barn. Gale appears to be making her way around. Jill fiddles with the controls, adjusting the camera. Gale spots the camera.

JILL: Helloooooo. (ala Randy in Stab 1) He's behind you. Look behind you! Turn arou - turn around! BEHIND YOU.

INT. BARN - SIMULTANEOUS  
>Robbie and Nick continue their conversation.<p>

NICK: So I'll see you tonight?  
>ROBBIE: Yeah, after Kirby's. (beat) I think I'm gonna tell them tonight.<br>NICK: About... us?  
>ROBBIE: Just... about me. I think it's time they know and... make sense of all this. I'll have to be fairly drunk so... (gulps down his drink) there's to that.<br>NICK: I'm proud of you.  
>ROBBIE: (smiles) Thanks.<p>

They share a glance in each other's eyes. SCREAMS erupt from all around as the kids then begin to DISPERSE. The crowd runs in every direction as Robbie and Nick remain bewildered.

ROBBIE: Shit! I'll see you later.  
>NICK: Wait, Robbie!<p>

Robbie runs off and joins the crowd heading out the door. Nick spins around, trying to figure out what's going on... foolishly staying behind.

INT. JILL'S ROOM - CONT'D  
>Jill celebrates behind her laptop as the feed cuts off.<p>

JILL: Beautiful! Beautiful shot! "Oh, why thank you." You're a true artist. An auteur director. "I humbly accept this Academy Award."

Jill saves the video feed to her desk top. "Home video. mov."

JILL: That's inconspicuous.

She jumps off the bed and turns the laptop around, setting it just right to remain open. She quickly looks in the mirror...

JILL: You ready for this? "Yeah... born ready."

Jill kneels down and grabs her costume from under her bed. She comes to a stand and slips the cloak on over her head.

CUT TO:  
>EXT. BARN - NIGHT<br>Dewey SLAMS the police car door on Nick's face. Nick tries to yell out but it's useless. The ambulance with Gale inside is about to head off. Dillinger approaches from behind.

DILLINGER: We got the situation under control, Dwight.  
>DEWEY: Thanks, uh... Chief? Take this suspect in for me, will ya?<br>DILLINGER: No problem, Sheriff. I'll see to that and you get to your wife.  
>DEWEY: Thanks, Dillinger.<p>

Dewey runs to the ambulance and sits in the back. They close the doors and speeds off. Dillinger looks down at Nick... with a sinister grin.

7.  
>CUT TO:<br>INT. POLICE CAR - NIGHT  
>Charlie is at the wheel, a bit of a panic on his face... he looks in the backseat... Perkins and Hoss' dead body back there. He comes to a stop at the curb and quickly jumps out of the car.<p>

EXT. STREET - CONT'D  
>Charlie runs his way down the street, leaving the cop car behind. He comes back towards Jill's street and approaches his car. A voice stops him.<p>

KATE: Hi Charlie!

He comes to a stall and turns around.

CHARLIE: Uh, hi!  
>KATE: Were you just visiting Jill?<br>CHARLIE: Uh, yeah. Just saw her.  
>KATE: Were the police here when you got here?<br>CHARLIE: Yeah, they had to leave real quick. Donut run.  
>KATE: Oh, okay, as long as they'll be back. How've you been?<br>CHARLIE: Good. Good. I actually gotta get going though.  
>KATE: Okay. Okay than Charlie, see you.<p>

Kate returns to the front door. Charlie quickly gets into his car and drives off.

INT. CHARLIE'S CAR - CONT'D  
>Charlie drives along the streets, completely pissed off about his talk with Jill just moments ago before he dragged Hoss and Perkins bodies into the car. He PUNCHES the steering wheel... the anger overfilling him... it just gets stronger. He PUNCHES THE STEERING WHEEL HARDER.<p>

CHARLIE: FUCK! (beat) I'm sorry, Kirby... I'm sorry...

As he's driving along, he spots Chantelle and Mayra walking down the street... he needs to blow off some steam... and fast. HE PULLS OVER AND STOPS IMMEDIATELY.

EXT. STREETS - CONT'D  
>Maya and Chantelle watch Charlie exit from his car.<p>

CHANTELLE: Hey Charlie, can we score a ride, dude?

They then spot - a KNIFE IN HIS HANDS. He brushes his hair back and STABS MAYA in the gut.

CHANTELLE: What the fu -

HE PULLS THE KNIFE OUT AND STABS CHANTELLE IN THE CHEST. Maya falls to her knees, looking at the blood in her hands. Chantelle falls into a bush, half passed dead already. He kneels down and SLAMS THE KNFIE INTO HER - STAB - STAB - STAB - STAB - STAB! He comes back up, breathing hard as Maya is still bleeding.

MAYA: You... fucker.

Charlie grabs Maya and throws her into the bush with Chantelle. She's still very much alive though... he looks around... he didn't fully think this through and someone could've easily seen him... but nobody is out... he looks back down at Maya... AND STABS!

CUT TO:  
>INT. AIRPORT TERMINAL - NIGHT<br>The airport is fairly empty for a Friday night. But among the people getting off the latest plane and down the tarmac... STEPHIE CHANG. She rolls her suitcase along and smiles to herself... she's finally gonna see her true love again...

8.  
>CUT TO:<br>EXT. POLICE STATION - BACK ALLEY - NIGHT  
>Dillinger hauls Nick along while another SWAT member handles Nick. They reach the squad van and they're both thrown inside. The drivers of the van come out and enter the back to handcuff the two of them. Dillinger watches intently.<p>

DILLINGER: We'll be up ahead to lead the way, try to follow close.

Dillinger and his SWAT member go to the other van, turning it on and waiting. The two members lock and close the doors behind them and then enter into the van, turning on their van. The driver honks, alerting Dillinger's van it's okay to go.

EXT. POLICE STATION - FRONT ENTRY - CONT'D  
>The two vans make their way off. The crowd outside don't even notice it's going... except for Louis. He taps Leo on the shoulder.<p>

LOUIS: C'mon. I have a pretty good guess as to who's inside those vans...

CUT TO:  
>EXT. ROBERTS RESIDENCE - FRONT DOOR - NIGHT<br>Ghostface (Jill) stands behind the front door, in a fury. She thinks quick and looks down at the mail slot, seeing a shadow blocking the light from within. She STABS into - - and she feels flesh and bone. She waits a bit longer... making sure she's right... and sure enough, the flesh and bone are pulled forward off the blade. Ghostface then slides the knife out and RUNS OFF toward the backyard.

EXT. ROBERTS RESIDENCE - BACKYARD - CONT'D  
>Jill pulls off the mask and she quickly continues along through her backyard, pulling off her cloak. She stops for a moment and looks back, trying to see into the window... she comes forward for a closer look... and she sees her mother... dead.<p>

Admittedly, Jill feels a bit saddened at this moment... to see the woman who gave her birth in such a gruesome state. She sniffles and holds a tear in. She straightens her jaw and holds her head up high instead.

JILL: Goodbye... mother.

Judy enters as Sidney looks on. Jill ducks down to the fence and grabs her purse, which was waiting already there and shoves the costume in. She holsters it over her shoulder and HOPS the fence. She continues running through her neighbor's backyard and hops the other fence until she's in their frontyard. Kirby's car is waiting for her, Robbie in the passenger seat. Jill quickly jumps in the back.

KIRBY: What took you so long?  
>JILL: Mother-daughter fight. Nothing new.<br>ROBBIE: Hi Jill. I'm drunk. Nice to meet you.  
>JILL: What's with him?<br>KIRBY: Lightweight. What can I say?

Kirby steps on the peddle and drives off down the street. Jill gets comfy and watches the houses go by out the window... and just than - - NILEY rises from the back seat.

NILEY: Hey!  
>JILL: WHOA! What are you... doing here?<br>NILEY: Sleeping in the trunk. It's spacious, you should try it.

Jill now realizes what must be done... now that Niley's on the way with everyone... to Kirby's house.

CUT TO:  
>INT. SQUAD VAN - NIGHT<br>Roy and Nick sit across from each other, staring one another down. Paranoia lingers in the air...

NICK: I didn't do it, if that's what you're thinking.  
>ROY: Is that so?<br>NICK: Yeah, fucker. Which means you did.  
>ROY: I've been locked up for the last day.<br>NICK: Doesn't mean you didn't kill Marnie or Jenny.  
>ROY: (beat) Did you see anything?<br>NICK: See what?  
>ROY: While you were at Stab-A-Thon - - did you see anything? Who might've done it or...?<br>NICK: I would've gave them up a long time ago if I did.  
>ROY: When Gale was attacked, who wasn't around?<br>NICK: Everyone was around, we were all watching the movie.  
>ROY: Clearly not everyone.<br>NICK: Well what the fuck you want me to say?  
>ROY: Be more observant next time!<br>NICK: Well... for a moment, Charlie did sneak away when I went to talk to Robbie.  
>ROY: Charlie? When?<br>NICK: (sighs) Just right before, actually.

The soundtrack thuds. The pieces of the puzzle now perfectly come together in Roy's mind.

ROY: Oh, my God.  
>NICK: What?<br>ROY: It makes sense than.  
>NICK: Hey, WHAT?<br>ROY: Charlie... his film obsessed mind... that freak is remaking Stab.  
>NICK: How?<br>ROY: When I was in Jenny's house... their was a chair with ductape on it. And a rope, a noose if you will, hanging down from a ceiling fan. A duplication of the way Steve Orth and Casey Becker were killed.

Nick shrugs not seeing how this is pertinent.

ROY: And on the wall, written in blood, was "what's your favorite scary movie?"  
>NICK: We already know the killer is wearing a Ghostface costume though so - -<br>ROY: But this one is emulating a formula, a very SPECIFIC formula. Copying how the original Stab went down.  
>NICK: What's that have to do with Charlie?<br>ROY: If Charlie wasn't around just BEFORE Gale was attacked, where was he after?  
>NICK: I, uh... I think I saw him running away with everyone else. (it hits him) Taking off a Ghostface costume...<br>ROY: And was he wearing it before?  
>NICK: (beat) No.<br>ROY: Shit... but why Marnie and Jenny? Why Olivia? What motive would he have, especially if he's not  
>even Marnie and Jenny's friend anymore?<br>NICK: Maybe he didn't wanna kill ALL of his friends. And being previous friends with them, perhaps he knew their house better and how to make a plan of attack.  
>ROY: Crazy people don't think like that. Crazy people attack passionately. Psych 101, chapter 1.<br>NICK: If it's Charlie, he went away with Robbie. (gasp) Do you think Robbie's in trouble?  
>ROY: Not unless he's the accomplice. Jenny and Marnie are friends with Niley - - Robbie's ex girlfriend. She was supposed to be there that night they were killed - - a missed target.<br>NICK: (smiles uncomfortably) Not Robbie... that's not possible.  
>ROY: Anything's possible. Horror 101: chapter 1.<br>NICK: (takes a moment) Robbie was with me that night.  
>ROY: Not all night though, I'm sure.<br>NICK: Well... actually... he spent the night so, yeah, all night.  
>ROY: What were you guys doing together all night?<br>NICK: What does it matter?  
>ROY: It kinda does matter to solve this!<br>NICK: (beat) It's not that big of a secret, is it? That I'm gay?  
>ROY:What's that have to do with Robbie - - OH MY GOD.<br>NICK: Look, it's a secret! Okay?  
>ROY: (beat) So... if not Robbie... who else would have a motive?<br>NICK: That depends... Olivia was a huge slut, she probably pissed off thousands of people...who hates Marnie and Jenny? "Passionately" as you say.  
>ROY: (long beat) Jill. But her cousin's in town so that's impossi - - no... it's perfect timing...<p>

The soundtrack begins to rise as Roy finally realizes the horror of the situation.

ROY: No Stab remake would be complete without a new Sidney Prescott. And how could you have a new  
>Sidney with the old one still running around?<br>NICK: Do you really think it's her?  
>ROY: Goddammit, Nick, I know it's her. (beat) I should've always known. She had all the signs, how did I miss this? FUCK! She's probably with everyone right now! Her and Charlie!<br>NICK: With Robbie.  
>ROY: We gotta get out of here!<br>NICK: And tell them what? Our story and they'll suddenly just let us go?  
>ROY: We have to try something!<p>

EXT. STREETS - SIMULTANEOUS  
>The squad van comes to a red light. Dillinger's van continuing to drive off in the distance. The light stays red for a moment, despite nobody being around... and then it turns green. The van drives forward, but Dillinger's van is long gone up the street.<p>

Ghost Hunt 1 car drives slowly behind the squad van. Louis is behind the wheel... he looks over to his left... Ghost Hunt 2 car is on the other side of the squad van also, being driven by Will.

LOUIS: LET'S DO THIS!

Louis steps on the pedal and drives parallel with the back portion of the squad car.

The Passenger Guard looks in his side mirror and notices them keeping speed to stay parallel.

PASSENGER GUARD: What's going on here?  
>DRIVER GUARD: What is it?<p>

Leo then stands up from the sunroof... a bottle of alcohol in hand with a cloth hanging from the top. HE LIGHTS IT with a lighter and LAUNCHES it at the side of the van - - IT EXPLODES and lights  
>the wall in flames.<p>

DRIVER GUARD: FUCK!

Boris throws a molotov as well and burns up the other side. The Squad Driver STEPS ON THE BRAKES as the Ghost Hunt cars speed off down the street. The Squad Passenger grabs the fire extinguisher and races outside as The Squad Driver calls into his walkie for back up.

INT. SQUAD VAN - SIMULTANEOUS  
>Nick and Roy back their backs away from the flames just behind them as far as they can as it burns inches away.<p>

ROY: HEY! HELP US!

EXT. STREETS - SIMULTANEOUS  
>The Squad Passenger sprays down one side but it barely does much work. A car REVS up down the street. His head snaps to look in that direction. The car then ACCELERATES AT HIGH SPEEDS TOWARD<br>THEM.

SQUAD PASSENGER: SHIT!

The Squad Driver thinks fast and exits from the car with gun pointed at the car. HE FIRES AT THE WINDSHIELD multiple shots until it shatters - - nobody is behind the wheel.

SQUAD DRIVER: RUN!  
>SQUAD PASSENGER: (still extinguishing the van walls) What? !<p>

THE CAR SLAMS INTO THE BACK OF THE VAN.

INT. SQUAD VAN - CONT'D  
>Roy and Nick are WHIPPED hard with the weight of momentum and RIPPED from their restraints from the ground and go flying in the air.<p>

EXT. STREETS - CONT'D  
>The van SWIPES sideways and TOPPLES over the Squad Passenger, CRUSHING HIM. The Squad Driver continues running to the nearest business store and takes cover at the doorway as the empty driven<br>car SKIDS BY.

The van continues SLIDING ACROSS THE STREET, OVER TURNED and STILL IN FLAMES with it's back end CRUSHED. It finally stops in the middle of the intersection.

The Ghost Hunt 1 & 2 cars come back down the street from where they came earlier at full speed heading toward the van. Louis jumps out of the car with the rest of the passengers and runs for the back door.

The Squad Driver gets out from the store doorway and rushes over with his gun drawn and yelling out threats - - the kids continue their business. Boris runs up from behind the Squad Driver and WHACKS him with a crowbar, knocking him unconscious. He takes the gun and puts it in his pants then runs back to the car.

The other kids finally POP open the backdoor with the crowbar and look inside - - Nick and Roy lay on the floor, a jumbled mess. They rush inside and grab Nick first by the neck and PULL HIM OUT.

NICK: LET ME GO! It wasn't me! It wasn't me!  
>ROY: What the fuck are you doing? ! Are you crazy? !<p>

The next batch of kids then grab Roy by the feet and PULL HIM out, dragging him across the street as Louis watches.

ROY: Let go of me, you son of a bitch!

Roy notices Louis. Louis grins.

ROY: What the fuck are you doing? !

They throw Nick into the backseat of the Ghost Hunt car 2 and throw Roy into Ghost Hunt car 1. Will and Louis enter their respective cars then SPEED OFF INTO THE NIGHT.

INT. DILLINGER'S SQUAD VAN - CONT'D  
>Dillinger looks back... the other van is nowhere in sight. He turns to the driver.<p>

DILLINGER: Turn back, something's wrong.

EXT. STREETS - CONT'D  
>Dillinger's squad van comes to a stop in front of the toppled over squad van. Dillinger jumps out, his gun already pointed. He looks in the front seat - - nobody inside. He comes to the back and takes note of the smoke rising from the side of the vehicle. He looks in the back - - empty.<p>

DILLINGER: SHIT! (into his walkie) We got two escaped suspects near Woodsboro Plaza. They are considered dangerous and may be on foot. Send in the team and get eyes in the sky. Do not hesitate to use force upon their capture. I repeat, THEY ARE DANGEROUS.

There's a groan from the side. Dillinger comes forward and notices the Squad Driver coming to a stand, rubbing his head.

DILLINGER: What the hell happened here?  
>SQUAD DRIVER: Two cars attacked the van. Took the suspects.<br>DILLINGER: Jesus. What kind of cars? Which direction they go?  
>SQUAD DRIVER: One was a red Honda, the other was a black Toyota. New models. They went north that way. That other car crashed into the back of it - -<p>

Dillinger walks away before he can finish and back towards his van.

DILLINGER: (into the walkie) The suspects have been picked up into seperate vehicles. A red Honda and black Toyota, newer models, headed North of the Woodsboro Plaza. I am in pursuit and I wanna hear those blades in the sky to light up my path, boys!

Dillinger hops into the van and informs his driver. The van drives off leading the other driver behind.

SQUAD DRIVER: What about me? !

9.  
>CUT TO:<br>INT. GHOST HUNT CAR 1 - CONT'D  
>The kids in the back struggle to put a bag over Roy's head. His mouth is already ductaped. He squirms about, trying to break from their grasps.<p>

LOUIS: Get that fucking bag on him!

INT. GHOST HUNT CAR 2 - CONT'D  
>They throw the bag over Nick's head with ease. Boris looks up at Leo.<p>

BORIS: Now what, boss?  
>LEO: I... have no fucking idea what we're doing.<p>

EXT. BRIDGE - CONT'D  
>The two Ghost Hunt cars come to a bridge, barely making their way across. A HELICOPTER comes into view and flies over head, pointing down the search light directly on them.<p>

INT. GHOST HUNT CAR 1 - CONT'D  
>Louis looks up, noticing they're caught.<p>

LOUIS: Fuck. FUCK, FUCK, FUCK!  
>WILL: What do we do? !<br>LOUIS: I'm thinking!

Louis' phone rings. He struggles to get it out of his pocket and puts it to his ear.

LOUIS: WHAT?

INT. GHOST HUNT CAR 2 - CONT'D  
>Leo's now in a panic.<p>

LEO: Boris has a gun, he wants to shoot down the helicopter!  
>LOUIS: No, tell him to quit being such a fuckin moron! We're half way across this bridge!<br>LEO: He's freaking out, man!  
>BORIS: Fuck this! We're not getting caught!<br>LOUIS: Control him, now!

Boris stands up out of the sunroof and aims at the helicoptor.

BORIS: You'll never get us!

INT. HELICOTPER - CONT'D  
>The SNIPER looks down through his scope.<p>

PILOT: Shit, he has a gun!  
>SNIPER: (into walkie) Suspects have been spotted on Torrence bridge, one has a gun, over.<br>DILLINGER: Take them out, god dammit! I'll be there in a second.  
>SNIPER: With pleasure.<p>

The sniper then aims from Boris' head - - to car number 1.

EXT. BRIDGE - CONT'D  
>The cars continue at high speeds over the bridge. Boris tries to aim the gun better... AND FIRES at the sky. Nowhere near the helicopter but he fired nonetheless. He continues PULLING THE TRIGGER. A small spark releases from the helicopter - - Ghost Hunt car 1's tire EXPLODES. Boris watches it in front of him as it then SPINS OUT OF CONTROL and SLAMS into his car. His eyes open wide - - the edge of the sun roof SLAMS into his ribs and nearly CUTS HIM IN HALF.<p>

Car 1 stops on impact but Car 2 now spins out of control across the bridge. Leo tries to get hold of the car - - but it's no use. It SLAMS into the barricade - - the bits and pieces splashing against the lake below. The car STOPS - - HALF WAY ON THE BRIDGE - - OTHER HALF OFF.

INT. GHOST HUNT CAR 1 - CONT'D  
>Leo looks down at the water below... and realizes he's on the shit end of the stick.<p>

LEO: Nobody move!

Nick struggles in the back seat.

LEO: I said don't fucking move!

The car SLIDES FORWARD but keeps it's balance.

EXT. BRIDGE - CONT'D  
>Louis stumbles out of the car and looks at the situation before him. He knows they're screwed. He looks back at his own car - - Will's side has been crushed on impact with the other car and he appears to be - - dead. As do the other two in the back seat. He comes back to the car and looks down - - Roy's still struggling - - ALIVE.<p>

LEO: Louis! Fucking help us, man!

Louis comes to a dilemma... help Roy... or Leo... he runs over to Ghost Hunt car 2.

LOUIS: I don't know what to do!  
>LEO: Just get us out!<br>LOUIS: I don't know how!

A SHOT FIRES and BLOWS A HOLE IN THE GROUND by Louis' feet. He jumps up and looks up, now remembering the copter is still in the air.

PILOT: (over megaphone) STAY PUT. YOU ARE UNDER ARREST.

Louis can't risk this shit...

LOUIS: I'm sorry!

Louis runs off towards the end of the bridge, leaving Leo behind.

LEO: YOU MOTHER FUCKER! GET BACK HERE! YOU SON OF A BITCH, THIS WAS YOUR IDEA!

Leo looks down in the backseat at the only person left to help him - Nick. Bullets fire, presumably aimed at Nick as he continues his way off the bridge. Leo reaches back - - trying to stay still as possible - - and takes the bag off Nick's head and rips the tape off.

LEO: Stop moving! You hear me? !  
>NICK: What are you doing? !<br>LEO: Just stop moving or we're gonna fall of this fucking bridge!

Nick's eyes open wide as he now sees he's not lying.

NICK: Oh FUCK!

BACK TO THE OTHER CAR -  
>Roy's now come to a full sit. He uses his knees to press upon his cheeks and rip the tape off his mouth. He KICKS open the car door and falls out. He realizes his cuffs are now off him and he runs toward the other car. A SHOT FIRES BY HIS HEAD and misses, hitting the Ghost Hunt car 2.<p>

The bullet EXPLODES in Leo's head and his brain matter SPLASHES across the front of the car. Nick witnesses this in all of it's graphic detail. He's now the only one left... in a toppling car. Roy comes to the back of the car.

ROY: Nick, are you in there?  
>NICK: Yes, I'm here!<p>

Nick sits up and looks out the back window at Roy. ANOTHER BULLET comes at Roy's head, this time SHATTERING the back glass. Nick now yells out since there's no sound barrier between them.

NICK: Try to push the car down and I'll crawl out this back window!

Roy listens and pushes on the trunk with his hands. The back end of the car comes a bit straighter as Nick wiggles his way out toward the trunk. THE CAR SLIDES and even FURTHER. The balance has been lost and Roy tries to keep pushing down on the trunk - - but it's no use. The weight of the engine and the bodies in the front seat overpower Roy's strength. Roy reaches out for Nick's hand. Nick grabs at it - - but he's not close enough - - the car keeps sliding.

ROY: HOLD ON!  
>NICK: Please! Please!<p>

The car continues sliding and toppling off the bridge. Another bullet SLAMS into the car - - altering the balance just enough - - and it descends downward. Roy rushes forward, trying his best to keep it on the bridge... but Nick... is still on the trunk of the car...

ROY: NO! NO!  
>NICK: ROY!<p>

THE CAR SLIDES OFF THE BRIDGE - - and heads towards the lake down below as the car SLAMS against the water below, upside down - - instantly killing Nick. Roy watches with his mouth agape from the bridge above at the blood now surfacing from the upside down car...

PILOT: (over megaphone) STAY PUT. YOU ARE UNDER ARREST.

A SQUAD VAN HITS THE BRIDGE AND COMES DIRECTLY FOR HIM. Roy watches it... and knows... this is his only chance for an escape. He looks at the end of the bridge, merely just a couple dozen yards away... trees are on the other side, almost like a woodsy area. Easy escape from the helicopter... an even easier escape from Dillinger in his vehicle. He looks back at the van speeding towards him... and he decides... HE CAN MAKE IT.

HE JUMPS TO HIS FEET AND RUNS TOWARDS THE END. The van SPEEDS UP after him. Bullets EXPLODE IN THE GROUND pass his feet as he goes forward. ROY RUNS AT FULL SPRINT, THE SPEEDIEST MAN ON THE PLANET AT THIS POINT.

Dillinger sticks half his body out of the car, FIRING HIS OWN GUN AT ROY. The van dodges around the crashed car, GETTING CLOSER.

Roy tries his best, SWEAT DRIPPING DOWN HIS BROW. Bullets EXPLODING EVERYWHERE AROUND HIM. And just before Dillinger's van could catch up with him - - ROY JUMPS WITHIN THE TREES AND INTO THE WOODS. The van stops before crashing into the bank of trees. Dillinger jumps out, reloading his gun and RUNNING AT FULL SPEED AFTER HIM.

Roy continues to run. He has to run. He's close enough, that he can make it. He can warn them. He can keep them alive. All he has to do is just get there in time. All he has to do is KEEP RUNNING. And there's only one place he knows where he needs to go if he's gonna stop what he think's going to happen... from happening...

SMASH TO BLACK.

* * *

><p>Don't forget to send in your questions for the <strong>FINAL Q&amp;A!<strong>  
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**385 reviews** for Part 3!  
><strong>415 review<strong>s for Part 4!


	44. SERIES FINALE: Jill's America: PART 3

You may wanna watch the ending at Kirby's house in Scream 4 to get a good idea of the timeline working here to be refreshed. Since this story focuses on the other characters, things from the film jump around a bit and it's really helpful if you just know what happened in that between time. Heck, you could probably read this in conjunction while watching the ending just so you can sense the entire grand scope of what happened that night.

And please, don't skip sections of the review. If you don't have time now, REVIEW LATER.  
>So... here we go...<p>

* * *

><p>1.<br>OPEN ON:  
>EXT. THE WOODS - NIGHT<br>Trees scattered about. They're blank, leaveless. No noise of rattling twigs or branches. It's completely bare. The silence is erupted by a figure RUNNING THROUGH THE DARKNESS. A hole EXPLODES into the tree as it passes.

CLOSE ON - - ROY, RUNNING AT FULL SPEED dodging his way through the trees. Sweat drips from his brow, exhaustion setting in. BUT HE CAN'T STOP.

CLOSE ON - - DILLINGER, far behind but his gun pointed. He shoots off another shot.

IT EXPLODES next to Roy's head as he continues full blast ahead!

CUT TO:  
>EXT. KIRBY'S - NIGHT<br>Kirby parks and they all begin to exit. As she does, Charlie parks as well and exits his car. Robbie appears less drunk and more frightened now.

ROBBIE: We're so fucked.  
>CHARLIE: What happened to the drunk-happy, referencing-Stab-movies-Robbie?<br>KIRBY: Hit a pot hole and with it came his lapse back into reality.  
>ROBBIE: Someone got attacked at our event, Charlie! Ya think just Stab-A-Thon's over? Nah ah, all of fuckin' Cinema Club is shutting down.<br>JILL: You'll work it out.

INT. KIRBY'S LIVING ROOM - NIGHT  
>They all enter and Jill plops on the couch with Niley. Charlie has the popcorn in hand that he supposedly bought and throws it in the microwave.<p>

NILEY: So what exactly happened?  
>ROBBIE: Gale Weathers showed up, UNINVITED.<br>CHARLIE: Got stabbed in the process.  
>JILL: Stabbed? (beat) So she's DEAD?<br>KIRBY: I think we would've included that detail if that were the case.  
>ROBBIE: Shoulder wound, she's fine but WE'RE FUCKED!<p>

Robbie leans on the counter, almost hyperventiliating. The microwave beeps, popcorn's done.

CHARLIE: Jesus Kirby, you got the world's fastest microwave.  
>KIRBY: General Electric, that's my shit. Shots anyone?<p>

In unison they all go, "ehhhhhh."

KIRBY: I drink alone than. But it's Vodka with a lime for me! (James Bond voice) On the rocks.

Kirby jumps up and goes to the bar. Charlie hands Jill the popcorn. She looks up at him and they share a quick hidden "THIS IS IT" smile.

CHARLIE: Kirby, do you have a Red Bull? I need some extra energy...  
>KIRBY: Check the fridge.<p>

Charlie crosses back over into the kitchen. Niley plops herself into Jill's lap, her hair in the popcorn.

NILEY: I feel like I'm gonna throw up.  
>KIRBY: Bitch, you best get off my couch than!<br>NILEY: I'ma go lay down in your room.  
>KIRBY: No, no, no! My parents room.<br>NILEY: But I like your bed!  
>KIRBY: Barf in my bed and you're eating it back up.<br>NILEY: (sticks her tongue out) Fine.

Niley grabs a handful of the popcorn and stuffs it in her mouth as she exits. Robbie watches Kirby finish up her drink and grabs the bottle of Gold alcohol.

ROBBIE: Okay, I can't not drink.  
>JILL: Well guys, tell me more. I need details on what I missed.<p>

Charlie opens the fridge and sees the Red Bull. His hand SHAKES as he touches the cold can. He freezes for just a moment... almost as if he has a bad feeling... but he takes it out anyway and returns back over to the couch.

KIRBY: You missed chaos. Utter chaos.

CUT TO:  
>INT. KATE'S CAR - NIGHT<br>SIDNEY SPEEDS DOWN THE STREETS. She bangs onto the GPS.

SIDNEY: KIRBY REED'S HOUSE.  
>GPS: I'm sorry, I do not recognize that name.<br>SIDNEY: Ah, you piece of shit! The Reed's... Residence?  
>GPS: Did you say - Leeds' Residence?<br>SIDNEY: NO!

A group of kids are on the side of the road, walking and chatting it up, drunk as hell. Sidney pulls over to the side of the road. The kids jump back, startled.

SIDNEY: Hey!  
>KID #1: Sidney Prescott!<br>SIDNEY: Where does Kirby Reed live?  
>KID #2: Can I get a picture?<br>SIDNEY: WHERE DOES SHE LIVE? !  
>KID #1: The bitch went psycho!<br>KID #2: 329 Whispering Lane. A street over from Turner lane, by the old Macher place... you DO know where that is, right?  
>SIDNEY: I know EXACTLY where that is.<p>

Sidney jumps back in the car and SPEEDS OFF. Beat.

GPS: Did you say Kirby Reed?

Beat. Sid's face remains blank and doesn't even answer. She just shakes her head.

CUT TO:  
>INT. KIRBY'S PARENTS' ROOM - NIGHT<br>Niley finishes puking in the toiler and comes to a stand, looking at herself in the mirror. She flushes the toilet and retreats to the bed, plopping down. She tries to slither her way into the sheets.

NILEY: (singing to herself) Night-night time for Niley.

* * *

><p>2.<br>CUT TO:  
>EXT. KIRBY'S - NIGHT<br>Jill makes her way down the path and comes to Kirby's car door. Trevor makes his way behind her.

JILL: You know, you don't have to make up bullshit excuses to come around.  
>TREVOR: You know, you don't have to lie to pretend like you don't care but still make me come around.<br>JILL: (opens the door) I'm not lying.

She bends over and looks within. Trevor slyly comes from behind, rubbing her ass. She jumps back and SLAPS him across the face.

TREVOR: What the fuck, Jill?  
>JILL: That's NOT yours anymore!<br>TREVOR: Can we please make things the way they were? Did I really do anything that bad? Yeah, I left you, that was shitty and I got with your ex-friend - -  
>JILL: We were still friends.<br>TREVOR: - - whatever and... call me crazy but I tried to do everything right.  
>JILL: Really? Is that what you did on prom night? Something right?<p>

His face goes pale.

JILL: Yeah, I KNOW. She told me. You thought that little secret would die with her... didn't you? Is that why you killed her?  
>TREVOR: I didn't kill anybody. I made a mistake, Jill... but I do love you. And I'd like to help you find your phone, so we can find out who did text me...<br>JILL: Wanna be a big help? Look in the backyard.  
>TREVOR: Why would it be in the back...? (smiles, as if he gets it) If that proves I love you, than "as you wish."<p>

Trevor backs off and makes his way back around the house. Jill sighs and watches him go... she then looks up at the window... A LITTLE GIRL stares down at her. Too young to be Niley... too young to be anybody they know actually, but she wears a blue dress... and she has a red ribbon in her curly brunette hair... and in an odd way... she looks almost like Jill...

Jill closes the car door and steps forward... but with every step... the little girl fades away. Jill stops in the middle of the lawn... and she scratches her head. She giggles a bit, not sure of what's happening in her head anymore.

JILL: What the fuck, Jill? You're losing it. (clenches her fist) Stay in control... stay in control.

Jill shakes the cobwebs and returns into the house.

WATCHING from the balcony is Robbie, camera pointed right on her. He takes the headset off and points it back on his face.

ROBBIE: Ladies and gentleman, I give you... our first really embarassing-talking-to-one's-self moment AND an ex-couple show down. Stay tuned, it's only gonna get better.

INT. KIRBY'S LIVING ROOM - CONT'D

Stab 7 can be heard on the TV as Jill slowly enters. Charlie and Kirby faintly talking... she enters the room and they act all secret-like.

KIRBY: Find your phone?

Beat. Jill stares at Charlie. He shifts his eyes, "look away or else it's obvious." She looks back up at Kirby...

JILL: No. I'm gonna check upstairs.

Jill turns and heads for the stairs. Kirby looks back at Charlie... her flirtation in full force. It's a little much for Charlie though... confliction and all. Kirby or Jill, Kirby or Jill? She can sense his discomfort... but to put him even more in the hot spot, she stands up and passes by him to go to the TV. She sticks her ass out as she slides through, right in his face and she comes to the TV to look at her collection. Charlie stares... Jesus Christ she's hot. He downs the rest of his Red Bull.

CHARLIE: Not alcohol. Fuck.

INT. KIRBY'S PARENTS ROOM - SIMULTANEOUS  
>Jill slowly opens the door and looks within. Niley's on the bed, beyond passed out. She continues to look around though... just to make sure.<p>

JILL: Niley?

Niley snores, drool spilling out of her mouth. Yeah, she's sound asleep. Jill goes to the window the little girl stood and looks down. Just Robbie mosey-ing about on the balcony. She closes her eyes a moment... and takes out her cell phone. She texts Charlie... "it's time."

TREVOR: You found your phone?

Jill spins around and sees Trevor there. She shushes him and leads him out of the room, closing the door.

JILL: C'mon, in here.

INT. KIRBY'S ROOM - CONT'D  
>Jill and Trevor enter and Trevor goes for the bed. Jill stays at the door... she gulps.<p>

INT. KIRBY'S CLOSET - SIMULTANEOUS  
>Charlie puts on the cloak and readies his knife.<p>

INT. KIRBY'S BACK DOOR - CONT'D  
>Charlie, now fully dressed, watches Robbie through the window stumbling about. He looks into the living room... Kirby lays on the couch, Stab 7 still on. Charlie quickly rushes over, silently, and comes to the door... waiting for his moment.<p>

Robbie looks at his phone, realizing his camera's turned around. Charlie grips the knife... AND OPENS THE DOOR.

INT. KIRBY'S ROOM - SIMULTANEOUS  
>Jill crosses over to Trevor and sits down next to him.<p>

JILL: So I've been thinking...  
>TREVOR: Yeah?<br>JILL: Maybe I can... give this a shot...  
>TREVOR: (smiles) I'm glad you realized...<br>JILL: But when I say "shot," I mean... like a bullet.

Huh?

SHE KNOCKS HIM IN THE BACK OF THE HEAD with the knife handle. He falls to the floor and she pulls ductape from Kirby's drawer and begins wrapping it onto his mouth. His eyes tell the whole story - but he can barely move. SHE KNOCKS HIM IN THE HEAD AGAIN and his head thuds flat on the floor.

She then begins to proceed to tie up his arms with the tape. She grabs his legs and pulls him toward the closet. Tires coming against gravel is heard outside... Jill shoots up and looks out the window-door. HER MOTHER'S CAR PARKING - SID INSIDE.

JILL: FUCK. (quickly dials Charlie - he answers) Change of plans.

EXT. KIRBY'S - SIMULTANEOUS  
>Ghostface has the phone to his ear, Robbie in the background, bleeding out. Robbie has his phone in his hand, trying to text someone - Nick.<p>

CHARLIE: Got it.

Charlie hangs up and looks back. He runs up, KICKING the phone out of Robbie's hand. He pulls Robbie to a stand and pushes him forward. Robbie falls to his knees - - to the side, Sidney's running for the front door. Robbie looks back at Ghostface.

CHARLIE: GO.

Robbie doesn't have to be told twice and hunches over, bleeding out.

* * *

><p>3.<br>CUT TO:  
>EXT. STREET - NIGHT<br>Roy exits the woods and comes to a street. His street. He keeps running and Dillinger follows behind. The Squad Van meets him on the other side, just as Roy bolts into his house.

DILLINGER: (jumping in the van) Why'd you stop for me? Get the kid!

The van drives forward and stops on the side of Roy's house. Dillinger jumps out and holds the walkie to his lips.

DILLINGER: 919 Parker Place, we have the suspect trapped in his house. I want the team here in FULL FORCE in 45 seconds!

INT. ROY'S PARENTS' ROOM - CONT'D  
>Roy bursts through the door and looks around. He comes to the drawer and pulls out an old cell phone. He begins to dialing and waits for an answer.<p>

INT. KIRBY'S PARENTS ROOM - SIMULTANEOUS  
>Niley's cell phone vibrates on the dresser next to her head. JUST OUT THE WINDOW, Sidney is pulling on the window seal trying to open it up. Niley smacks her lips and reaches over to the phone, turning off the ringer. Just then, Sidney is HIT in the chest by Ghostface and she falls off the roof. Niley just gets more comfortable, slipping off into dreamland.<p>

INT. ROY'S PARENTS' ROOM - CONT'D  
>Roy THROWS the phone in frustration.<p>

ROY: FUCKING NILEY! (realizes that wasn't a good idea) Shit! (runs after the phone and begins dialing Kirby's number) Answer your God damn phone!

INT. KIRBY'S CLOSET - SIMULTANEOUS  
>Kirby's hiding in the closet, trying to be quiet with the house phone in her hand. She turns it on - - it's dead.<p>

UNDER THE COUCH IN THE LIVING ROOM - -  
>Kirby's cell phone rings off the hook.<p>

INT. ROY'S PARENTS' ROOM - CONT'D  
>LIGHTS BEGIN TO PEER INTO THE ROOM. A helicopter buzzes outside. Roy doesn't have time to lose now... he then begins to ransack the room, turning stuff over.<p>

ROY: Where the fuck is it! ?

EXT. ROY'S HOUSE - CONT'D  
>Dillinger and the SWAT team all stand outside on the sidewalk, ready to infiltrate the house.<p>

DILLINGER: Ya boys ready? (grabs the megaphone) ROY POPPER. This is CHIEF DILLINGER. You have literally 30 seconds to exit the house or we will enter and use excessive FORCE!

INT. ROY'S PARENTS' ROOM - CONT'D  
>Roy continues to look through the room like a mad man.<p>

DILLINGER (O.S.): I repeat, 30 SECONDS!

Roy looks under the mattress and hears a jingle... he's found it. He pulls out a set of keys... he smiles... YES!

INT. ROY'S ROOM - CONT'D  
>Roy enters his room, throwing off his shirt and grabbing a new one.<p>

ROY: What am I doing, they'll still recognize me!

He panics... and then downstairs... THE DOORS BURST OPEN. He freezes... and his mind begins to race.

ROY: Okay, okay, okay.

He bursts open his closet and looks around. There's a box on the floor that says SUPER LIGHT. He grabs it and breaks it open, taking out the ball-like device. He twists it, a scale showing that it's charging.

ROY: Don't fail me now...

INT. ROY'S HALLWAY - CONT'D  
>Just outside Roy's bedroom door, A SWAT member has their guns drawn and edging down the hallway. The door BURSTS open and the Super Light rolls along the floor to the SWAT member's feet. THE LIGHTS BRIGHTS UP - - A THOUSAND-FUCKING-SUNS BRIGHT. The SWAT members stumbles back and FALLS OUT THE WINDOW.<p>

Roy runs out the hallway, a pair of violet-shaded goggles on and he picks up the ball and runs for the stairs. Two SWAT members make their way up after hearing the crash - - ROY THROWS THE BALL INTO THEIR FACES and they both trip backward onto eachother and CRASH DOWN THE STAIRS - - their guns FIRING OFF TOWARD THE CEILING almost exploding into Roy's face.

INT. ROY'S LIVING ROOM - CONT'D  
>Roy jumps over them and a SWAT member at the doorway shields his eyes, FIRING AT ROY as he crosses the room. Roy picks up a table along the way and CHARGES toward him - - SLAMMING IT INTO the SWAT member, making him drop his gun and knocking him over in the process.<p>

EXT. ROY'S HOUSE - CONT'D  
>Dillinger paces outside, eager to know what the hell is going on.<p>

DILLINGER: What's with the gun fire? ! (beat) To Hell with this, I'll get him myself.

Dillinger cocks his shot gun and makes his way up the drive way - - A MUSTANG BURSTS THROUGH THE GARAGE DOOR and nearly RUNS OVER DILLINGER. He leaps out of the way and into the grass. Roy's behind the wheel and he steers directly into the back of the SQUAD VAN, tipping it over.

The damage to the Mustang is heavy but still drivable as he SPEEDS DOWN THE STREET. The rest of the remaining SWAT members run to the still left van and jump in.

DILLINGER: GET HIM!

EXT. STREETS - CONT'D  
>ROY SWERVES onto a busy street, throwing off his goggles and checks the time.<p>

ROY: I'M GONNA BE TOO LATE! FUCK!

* * *

><p>4.<br>CUT TO:  
>INT. KIRBY'S LIVING ROOM - NIGHT<br>Kirby enters the living room, looking under the couch and grabs her cell phone. She then races toward the stairs.

INT. KIRBY'S ROOM - CONT'D  
>Charlie pulls Trevor's body from the closet and drops him to the floor.<p>

INT. KIRBY'S FOYER - CONT'D  
>Kirby and Sid have bumped into each other at this point.<p>

KIRBY: Okay, where's Jill?

Foot steps thud down the stairs and they proceed to the basement door. TILT UP - - Charlie has Trevor's body, PULLING him down the stairs, the thud being his head hitting each step. Charlie's taking off his costume as Jill watches him continue to pull him toward the kitchen.

CHARLIE: You gonna be okay?  
>JILL: I GOT THIS. Just make sure you do your part.<p>

Charlie pauses for a moment... he's barely just remembered... what he has to do. But he nods assuringly.

CHARLIE: Don't worry. The bitch is dead.

Charlie stuffs Trevor right side up into the closet and closes the door. Charlie runs off and out the front as Jill slowly turns around... and enters - -

INT. KIRBY'S PARENTS ROOM - CONT'D  
>Jill slowly steps toward Niley's sleeping body. An easy target... so peaceful... and innocent. SHE RAISES THE KNIFE and hovers over her... and tears fall from her eyes...<p>

JILL: I'm sorry, Niley...

SHE STABS DOWN!

* * *

><p>5.<br>CUT TO:  
>EXT. STREETS - NIGHT<br>Roy drives down another street. He can see Kirby's house up on the hill. And then - - THE SQUAD VAN SMASHES INTO THE SIDE OF HIS CAR, T-BONING HIM. Roy's car SPINS out of control and SLAMS into a tree - - but the van loses control as well and TIPS OVER.

Roy coughs up blood and begins to tumble out of the car, crawling his way up to a stand and running toward Kirby's house. DILLINGER BURSTS FROM THE TOPPLED OVER VAN and FIRES a SHOT AT ROY. Roy tries to keep running but is too dazed... Dillinger TACKLES him to the ground and holds the gun to his head.

DILLINGER: You son of a bitch!  
>ROY: DO IT!<br>DILLINGER: What?  
>ROY: DO IT! C'MON! If I can't save them, you might as fucking well kill me!<br>DILLINGER: SHUT UP!  
>ROY: FUCKING SHOOT ME!<p>

Roy begins to cry and Dillinger actually considers it, PUSHING the gun deep into Roy's skull. Roy mans up, looking Dillinger straight in the eyes.

ROY: I don't wanna know what it feels like. To be YOU.  
>DILLINGER: Shut your god damn mouth!<br>ROY: To not make it in time! Isn't that right, Dillinger?

Dillinger shakes... he knows just what he's talking about.

DILLINGER: (beat) You have the right to remain silent...  
>ROY: What if I could get there sooner? What if I make it there in time? What if my love - what if she's still alive?<br>DILLINGER: (tears coming to his eyes) ANYTHING YOU DO OR SAY WILL BE HELD AGAINST YOU IN A COURT OF LAW!  
>ROY: Think about it, Dillinger! If only you put love first... instead of your job...<br>DILLINGER: (breaking down but powers through it) You have the right to an attorney...  
>ROY: Maybe she'd still be alive! If I can get there in time... I can save mine... like you could've saved your WIFE.<p>

Dillinger looks Roy square in the eyes... looking for any sense of sincerity... to realize that Roy might be right... that Roy is just like him... just racing home... to get there in time.

DILLINGER: Go.

Dillinger pulls up Roy as Roy looks on at him, SHOCKED.

DILLINGER: I SAID GO!  
>ROY: If you can come with me, you can help me save them!<br>DILLINGER: (points the gun at Roy again) I can't... do that.

The men in the Squad Van begin to tumble out, seriously injured. Roy looks at them and back at Dillinger... and then realizes a large piece of metallic shard is sticking into his side. Dillinger's barely doing the best he can to stand up with the blood spilling down his leg.

ROY: Thank you.  
>DILLINGER: (grits his teeth) Get the fuck out of here.<p>

ROY BOLTS TOWARD KIRBY'S HOUSE as Dillinger falls to the floor, succumbing to the pain.

CUT TO:  
>INT. KIRBY'S PARENT'S ROOM - NIGHT<br>Jill RAISES the knife... but Niley's still alive. Unharmed. A giant slash in the comforter next to her face. Jill wigs out and RUNS OUT OF THE ROOM.

CUT TO:  
>EXT. KIRBY'S - NIGHT<br>Roy makes his way up the hill, running toward Kirby's house. He trips and falls, completely EXHAUSTED. He can barely keep going... but he doesn't let himself stop. He pulls him forward with his hands, just so he can get closer...

* * *

><p>6.<br>CUT TO:  
>INT. KIRBY'S BASEMENT - NIGHT<br>Kirby has the phone to her ear, tears streaming down her face. Charlie's tied up in the chair outside.

KIRBY: It's one of those, RIGHT? (no answer) Right? (beat) I got it right. I was fucking right!

Kirby comes forward to the door and looks around for a bit - - cautious before she exits... and she opens the door.

EXT. KIRBY'S - CONT'D  
>Kirby steps out, scanning the yard. She runs forward to untie Charlie. And just in the bushes... JILL WATCHES. Kirby looks up and Jill steps back, her shadow casting against the bushes. Kirby hurries... but Jill has somewhere else to be, trusting that Charlie will do what he's been told. She turns around and hurries around the other side of the house. She looks up in the windows to the house - - Sidney searching around with her butcher knife.<p>

Jill goes for the door but then - - stops. Something in the grass draws her attention... Roy trying to come to a stand. She takes off her mask and races over. Roy looks up... in his eyes HATRED.

JILL: Roy, honey. How'd you get out of jail?  
>ROY: Don't you, "honey" me, you bitch!<p>

Jill stops. Realizing her cloak isn't exactly the most casual of outfits. She smiles as he comes to a stand.

ROY: What - did you do?  
>JILL: (beat) What I had to do to make sure we'd be together. And I'm gonna finish it.<br>ROY: They're coming. You won't have enough time.  
>JILL: I have plenty - of time. (beat) Roy, think about it just for a second. How much better our lives could be. Just you and I... together... fame... fortune... all you have to do... is walk away... and I can be the sole survivor...<br>ROY: Where's Niley?  
>JILL: Save her... take her away... otherwise, I'll have to kill her eventually.<br>ROY: NOT IF I STOP YOU.

Roy raises his fist and JILL RAISES HER KNIFE.

JILL: Sorry honey, I've been there before. Dispatched any mother fucker who laid harm to me... but you didn't know that, did you? Poor, sweet, innocent, Roy. (beat) My offer... stands. I kill Trevor... I kill Sidney... and I kill Charlie... and you and I can be together... just take Niley... and go home.

Roy actually ponders it for a second...

JILL: It's that simple. I'm not crazy... I'm doing this for a better life. And half these chuds don't fucking deserve it as far as I'm concerned. But you... and me... we do. Please, Roy... for me.  
>ROY: (beat)... bitch, you are fucking crazy.<p>

ROY PUNCHES HER IN THE FACE and SHE GOES DOWN, the knife TUMBLING FROM HER HAND.

HE STANDS OVER HER and we look at him with an EPIC hero shot... SAVING THE FUCKING DAY.

PAUSE FOR THE CROWD TO CHEER THEIR LUNGS OUT.

* * *

><p>7.<br>ROY: You didn't think it'd be that easy, did you?  
>JILL: (wipes blood from her mouth) You know... for a second there... yeah... I kinda did.<p>

SHE KICKS HIM IN THE KNEE AND he hobbles over, she then grabs the knife and KNOCKS HIM IN THE HEAD WITH IT. He falls to the floor, his head bleeding. Jill comes to a stand and KICKS Roy in the side. Nevermind, he didn't save the day.

JILL: You're MINE! (KICK!) Don't FORGET IT! (KICK!) And when this is all over - (KICK!) - we're going to pick up - (KICK!) - right where we left off!

SHE KICKS HIM AGAIN FOR GOOD MEASURE as he begins coughing up blood. She kneels down and slides the knife across his chest.

JILL: Nobody would believe you anyway. (angelic and performance-like) I'm too innocent. The damsel in distress! Give momma some sugar. (kisses him, the blood from his lips now on hers; she licks it) Mm. Tasty. (holds the knife to his neck) Now you'll leave if you know what's good for you... or I'll cut your fucking throat open and watch you gasp for air only to have blood come out.  
>ROY: Fuck... YOU.<p>

Jill grits her teeth...

JILL: Maybe later.

SHE SLAMS the knife into his nose, knocking him out and his face a crimson mask. She looks back up at the house... time for the FINAL ACT.

CUT TO:  
>INT. KIRBY'S FOYER - NIGHT<br>Niley slowly comes down the steps, scratching her head.

NILEY: Where the hell is everybody?

All is quiet in the house... a few rooms over, she spots Sidney searching with a knife and a sinister look on her face. Niley gasps at the sight of her and runs to the basement door. She closes it, softly... but Sidney comes toward the door anyway. Niley jumps down and makes her way for the door.

Sid opens it and looks down - - just as Niley spots the door to the outside. She opens it and tries to close it softly, but she trips a little and it closes harder than she expected. Sid stays at the top of the stairs... what was that noise? CHARLIE GRABS HER FROM THE SIDE, HOLDING THE KNIFE TO HER NECK!

EXT. KIRBY'S - CONT'D  
>Niley backs up, looking into the basement to see if anyone's coming... and then she TRIPS and falls. She looks down - - KIRBY'S BODY on the floor, still withering in pain.<p>

KIRBY: You stupid, bitch!  
>NILEY: Oh my God, what happened?<br>KIRBY: (still out of breath - inaudible) Cha-h-eee. Cha-h-ee.  
>NILEY: Cha? Charlie? CHARLIE?<p>

Kirby nods.

KIRBY: HELP ME!

Kirby grabs Niley's shirt and Niley pulls her up over her shoulder.

NILEY: C'mon! Where's everybody?  
>KIRBY: Dead. DEAD.<p>

Niley pulls Kirby along until they come to the front door. Robbie's body lays there and Niley freezes...

KIRBY: I'm... sorry... Niley.

Tears come to Niley's eyes and she nearly falls over but she must remain up for Kirby.

NILEY: No... NO!  
>KIRBY: I'm fucking BLEEDING, NILEY!<br>NILEY: Sorry.

Niley continues to pull her and they continue making their way - - Roy lays in the grass, knocked out.

NILEY: Wait here, wait here.

Niley throws Kirby's arm off - - Kirby just falls over, unable to stand. Niley bends down to Roy and tries to aid him.

NILEY: Oh my God, Roy!

She slaps his face. Nothing. She then puts her mouth to his nose and breathes in. Roy jolts up, rubbing his face.

ROY: What the - fuck was that? !  
>NILEY: I thought it would work!<br>ROY: Where's Jill? I can't fucking see, there's blood in my eyes.  
>NILEY: She's in the house still, I think.<br>ROY: She's the killer, Niley, it's her!

Kirby watches Roy from a few feet over.

KIRBY: WHAT?  
>ROY: Kirby? Is that you?<br>KIRBY: Jill's the killer? No, it's Charlie!  
>ROY: I know, it's both of 'em! I tried to warn you!<br>NILEY: No, it can't be!  
>ROY: Niley, listen to me! It's her, she did this to me!<br>NILEY: Nooo.

GUN SHOT! Niley jolts up and looks into the window - - Jill holds the gun, pointing down with Charlie next to her. Total shock runs through her veins... uncapable of comprehending this moment.

ROY: What the fuck was that?

Niley's still frozen, looking on at her sweet friend Jill... cold blooded killer. Jill FIRES ANOTHER SHOT which snaps Niley out of it.

KIRBY: I'm fucking bleeding over hereeee - -

And Kirby passes out. Niley looks back and sets Roy to her feet.

NILEY: C'mon, follow my voice!

Roy follows, still trying to get the blood out of his eyes.

NILEY: Pick her up, Roy!  
>ROY: I can't see!<br>NILEY: I'll guide you!

Roy bends down and scoops up Kirby's bloody body. Niley then pushes Roy along toward Kirby's Mother's car. She opens the back door - - it SMACKS into the back of Kirby's head.

NILEY: Shit! Put her in!

Roy uses his best judgment and lays her down. Niley runs around to the driver side and enters. She opens the mirror flap - the keys fall into her lap.

NILEY: I didn't think that'd actually work. Okay, perfect! Get in, Roy!

Roy gets into the back seat, tending to Kirby the best he can.

ROY: What are you doing?  
>NILEY: We're gonna get the fuck out of here!<p>

Niley puts the car into drive.

ROY: Whoa, whoa, you're not gonna drive, are you?  
>NILEY: YOU GOT ANY BETTER SUGGESTIONS? !<p>

SHE STEPS ON THE GAS - RAMMING THE BACK OF KIRBY'S CAR.

ROY: REVERSE! NILEY! REVERSE!

Niley puts the gear down into reverse and she DRIVES OFF down the hill.

* * *

><p>8.<br>CUT TO:  
>INT. KIRBY'S KITCHEN - NIGHT<br>Sidney looks on... Charlie's been stabbed already.

SIDNEY: Even your friends...  
>JILL: My friends? What world are you living in? I don't need friends, I need fans. Don't you get it? This has never been about killing you. It's about... becoming you. I mean for fuck's sake my own mother had to die, no great loss there, so I could stay true to the original. It's sick, right? Well, sick is the new sane. You had your fifteen minutes, now I want mine! I mean what am I supposed to do? Go to college? Grad school? Work? Look around! We all live in public now. We're all on the internet. How do you think people get famous anymore? You don't have to achieve ANYTHING. (beat) You just got to have fucked up shit happen to you. So, you do have to die Sid. Those are the rules. New movie, new franchise. There's only room for one lead and let's face it: tour ingenue days - - they're over.<p>

JILL STABS THE KNIFE INTO SID'S STOMACH. BLOOD spills out and down her lower half... and she curls over... and hits the ground. Jill has a tiny moment of taking it all in... pleased at what she's accomplished. And then a sudden rush of sexual euphoria comes over her. She rubs her face, enjoying the pleasing feeling... but she realizes what she has to do next.

CUT TO:  
>EXT. STREETS - NIGHT<br>Niley drives the car at full speed - - ON THE WRONG SIDE OF THE ROAD. She swerves in and out of the cars PASSING BY. Roy's in the back, unable to see this madness, but Niley appears to determined to get them somewhere.

ROY: Why is everybody honking?  
>NILEY: Uh... broken tail light.<p>

EXT. HOSPITAL PARKING LOT - CONT'D  
>Niley SWERVES onto the parking lot and parks in a stall. Roy exits, his sight somewhat visible now and he grabs Kirby, racing her toward the ER. Niley follows behind.<p>

INT. WAITING ROOM - CONT'D  
>Roy enters with Kirby in his arms as she flails about - - he falls to his knees as the nurses rush over. A few check him and look at his face.<p>

NURSE 1: He's gonna need stitches as well.  
>ROY: Take care of her! Her first!<br>NURSE 2: We're gonna need a surgeon, multiple deep stab wounds!

They pick her up and immediately throw her on a stretcher.

NURSE 2: She has no pulse!

Niley overhears this and covers her mouth to not let the squealing cry come out.

CUT TO:  
>EXT. KIRBY'S - NIGHT<br>THE LIGHTS FLASH into Jill's face. She pretends to be dazed... confused... looking up at the reporters sticking their mics into her face. The dicks of the media, mouth fucking her every step of the way - - and she loves every second of it. She tilts her head up and looks toward the grass where Roy would be - - he's gone. And she grins, which she realizes is supicious and she somehow turns into a crying fit, as the pictures continue to be SNAPPED. THE LIGHTS THEN FADE BRIGHT - -

* * *

><p>9.<br>FADE IN:  
>EXT. FOOTBALL FIELD - DAY (ALT UNIV)<br>It's clear it's graduation. The stands are packed with eager parents. Students in the middle, looking on at the stage. And on that stage, speaking at the lecturn, is KATHERINE MALEFECINT.

KATHERINE: I have to say, it is an honor to be this class' valedictorian. To be among so many outstanding individuals and to be seen as a representive of our collective intelligence is an overwhelming feeling.

Kirby sits among the students and rolls her eyes, "this bitch."

KATHERINE: So to my fellow peers, the class of 2011, I salute you and wish you good luck in all of your future endeavors. NOW LET'S PARTY!

The entire crowd cheers as Katherine makes her way off stage. Principal Bronson now takes over.

BRONSON: Thank you for that speech, Katherine. And now, the moment you've all been waiting for... we will now induct the class of 2011 into the official list of alumni of Woodsboro High.

MUSIC CUE: "Graduation" by Vitamin C. [youtube. com/watch?v=vdKqMJ0O88I]

Sidney watches in the stands, standing next to Roy, Niley and Kate with eager grins. Roy nudges Niley.

ROY: That'll be us next year.  
>NILEY: Me, definitely. You, I'm a little bit worried about.<p>

Roy smiles and takes out his camera, as does the rest of the crowd. Sidney pinches Kate's arm.

KATE: She's growing up so fast.  
>SIDNEY: You did one helluva job, Aunt Kate. She's a great girl.<p>

MONTAGE:  
>Bronson calls out names, and we watch as they come to the stage, picking up their diplomas in their caps and gowns.<p>

Tess Martin (Roy claps along... normally... as if he doesn't know her... in fact... he doesn't...)  
>Katherine Malefecint (Katherine takes the stage, super proud to put her tassel to the other side of her cap)<br>Chantelle Moreno (Chantelle takes the stage, bowing. Esline stands up in the stands, clapping for her)  
>Olivia Morris (Joseph stands up for his sister, clapping along with his mother both majorly proud. As Olivia comes down the steps, the Swim Team throw blue confetti over her head and she takes a seat with them.)<br>Robbie Mercer (Robbie has a regular camera in hand as he goes up to the stage, documenting the entire experience. He raises his hands once he grabs his diploma and the crowd goes wild)  
>Lynn Peters (As Lynn's at the front of the line, she looks back behind her and spots Kirby. She smiles as she notices her... but she looks forward... knowing now that school's over... she'll never have a chance to find out)<br>Jenny Randall (Jenny blushes as she takes the stage as her friends cheer her on. Niley points out at her from the stands and Jenny points back. Cute.)  
>Kirbiline Reed (Prichard, and some of his jock friends, scream loudly and blow an air horn while lifting up their shirts, each letter of KIRBY printed on their bellies. She shakes her head and waves as she crosses the stage)<br>Jill Roberts (Sidney and Kate go crazy, screaming for their girl, as do the rest of her friends. She feels odd by the massive amount of attention and tries to get herself off the stage as quickly as possible with her head down. She bows to the crowd, in an "okay, that's enough" way and switches sides of her tassel as she comes down the stairs)  
>Solai Romano (The dance team goes wild. Topher claps along in the crowd of students... again... he has no idea who she is)<br>Mayra Sashe (She takes her honors scarf and the nerdy kids cheer in the crowd)  
>Chelsea Saure (Chelsea takes the stage, dancing her way to grabbing her diploma. Mr. Leeds claps in the audience... but again... he claps along politely... not knowing who she is. Trevor shouts from the line behind her, cheering her on.)<br>Will Scanton (Will's scrawny hands take the diploma and he jumps off the stage, as if he's some Rock God. Nobody cheers... nobody cares)  
>Trevor Sheldon (Trevor tries to compose himself, excited for this moment. He takes the diploma, like an official gentleman and salutes the principal. His excitement gets the best of him as he than jumps down the stairs, doing the same Rock God like attitude. However, he gets huge applause)<br>Leo Trinn (Leo takes his honors scarf as well, and joins Mayra)  
>Charles Walker (Charlie keeps his head down but he looks up anyway, just to get a quick glimpse. He tries to hold back his smile but once the diploma's in his hands... his teeth show through his grin.)<br>Topher Yates (Topher grabs his diploma. Kirby caring less in the crowd)  
>Nick Zahn (Nick takes his diploma and Robbie notices him up on stage... but he'll never know who he is...)<p>

And that is your graduating class of 2011!

The students throw their caps in the air and congratulate one another. Jill claps along, keeping her tassel on. Kirby is a party animal, "woo-ing" in every direction she looks.

EXT. KIRBY'S - NIGHT  
>Lines of car line up outside her outside. The same damn "Graduation" song still playing.<p>

INT. KIRBY'S FOYER - CONT'D  
>Jill enters as streamers shoot over her head. Kirby runs up to her and grabs her by the hand, pulling her into the kitchen.<p>

INT. KIRBY'S KITCHEN - CONT'D  
>Drinking games and other wild animal acts take place here. Jill feels out of place, a bit sheepish. Charlie has a beer in hand and toasts toward Jill as she enters. Trevor pours down two beers into a funnel as Chelsea chugs it down. Jill smiles... it's all too funny to her... and she can't pinpoint why.<p>

The lyrics of the song then come over as Jill just looks around at everyone... having a great time. "I keep thinking times will never change/Keep thinking times will always be the same."

Sidney enters into the kitchen and grabs Jill through the madness, pulling her out onto the deck.

EXT. KIRBY'S DECK - CONT'D  
>There's still partying going on out here but it's less severe.<p>

SIDNEY: Hey kiddo, I gotta jet.  
>JILL: Already?<br>SIDNEY: Yeah, my flight leaves tonight.

Jill smiles, a tear nearly coming to her eye and they hug.

JILL: Thanks for coming.  
>SIDNEY: I wouldn't miss it for the world, you kidding?<p>

Kate comes up the steps and Jill's automatically embarassed.

KATE: I know, I'm the last person you wanna see at a party.  
>JILL: Mom!<br>KATE: But I'm taking Sidney right now, so I just wanted to say have fun tonight and you have no curfew.  
>JILL: You serious?<br>KATE: It's your night. You deserve it. My wonderful, daughter.

Kate hugs Jill, the entire party goes "awwwwww." Jill turns red but she's still happy through the gesture.

JILL: I love you, mom.  
>SIDNEY: Bye Jill, we'll keep in touch.<br>JILL: Like always.

Sidney and Kate walk down the steps down toward the cars. Jill watches them go.

JILL: I love you, Sid!  
>SIDNEY: Love you too, baby doll.<p>

Roy comes from the side, drunk.

ROY: You know what we should've done?  
>JILL: What's that, Roy?<br>ROY: A movie club. That would've been so bad ass.

Jenny overhears and comes up.

JENNY: That would've never worked anyway.

She keeps walking off, smiling at Roy.

JILL: You can always start it next year.  
>ROY: Naaah. Won't be the same without you guys.<br>JILL: You and Niley will just have to cause twice as much havoc now that we're gone.  
>ROY: (beat) It might be the drink or it might just be because it's true but... you're fuckin' beautiful.<br>JILL: (laughs) What?  
>ROY: Seriously, look at you. Just gorgeous. I don't know why I've been hung up on Kirby all this time.<br>JILL: Honesty. It's weird but refreshing.  
>ROY: You wanna dance or something?<br>JILL: Once this damn song changes.

Kirby bursts through the door.

KIRBY: I'm NEVER changing this song. I LOVE IT!

Prichard comes up from behind and takes her beer.

KIRBY: What the fuck, love?  
>PRICHARD: That's enough. When you start liking this song, it's a clear sign you're way too inebriated to keep drinking.<br>KIRBY: Oh, boo.  
>JILL: You wanted that?<br>ROY: What was I thinking?

They both laugh... and watching them just behind is Charlie... with nobody. Niley then pulls on his sleeve and tries to somehow dance to this song.

NILEY: C'mon, Charlie!  
>CHARLIE: Oh no, I don't dance.<br>NILEY: You can dance with me! I won't judge!

Charlie looks around... and he starts to shuffle side to side by a bit.

NILEY: Okay, you look stupid. Don't dance.

Kirby pries the beer away from Prichard and stands on the table. He tries to keep her up right as she raises her glass.

KIRBY: I have a toast!

The entire party's attention focuses on her and they all lift her glasses.

KIRBY: I toast to tonight and graduating and shit like that. (they all WOO) And I toast... to my best friend... Jill... who I love more than anything in the world. And to Prichard... for not dying on me after all the shit I've put him through. (she rubs his head) And to... to all of us... may things always stay the same... and keep the party alive... because I know I'll miss all of you. I'll miss this. So... salute.

They all down their beers... and we...

FADE OUT.

BEAT.

* * *

><p>10.<br>FADE IN:  
>EXT. KIRBY'S - NIGHT<br>The reality is less thriving by a long shot. All that's here now... is the police... FBI... ambulances coming to clean the scene... and forensics. But coming up the road... is a rental car. It stops... and out comes... Stephie. She looks on at the scene, totally horrified of what could've happen... SHE RACES TOWARD THE HOUSE.

INT. KIRBY'S KITCHEN - CONT'D  
>Stephie runs in, passed the few policemen and looks down - - the dead sprawled out. And the first one she sees... Charlie. The police finally grab her, trying to pull her away but her gut wrenching cry pulls them down with her and she falls to the floor.<p>

STEPHIE: CHARLIE! MY CHARLIE!  
>COP: C'mon miss, you shouldn't be here.<br>STEPHIE: That's my Charlie! WHAT HAPPENED? WHAT HAPPENED TO MY CHARLIE? !

They pick her up to a stand as her face becomes a pool of tears but she can't take her eyes off him...

STEPHIE: Charlie, please wake up! I'm here! I'm back, CHARLIE, PLEASE! I came back for you! CHARLI-E-E-EEEE!  
>COP: Miss, he's dead, I'm sorry.<br>STEPHIE: No... Charlie, no-o-o-o-o... NOOOOOOO!

SMASH TO BLACK.

* * *

><p>Don't forget to send in your questions for the <strong>FINAL Q&amp;A!<strong>  
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415 reviews for **THE FINAL PART OF WOODSBORO HIGH - EVER!**


	45. SERIES FINALE: Jill's America: THE END

1.  
>OPEN ON:<br>KIRBY'S FACE  
>Pale. Eyes frozen. Breathless. Her body props up and down.<p>

PULL BACK - -  
>INT. KIRBY'S HOSPITAL ROOM - NIGHT<br>The doctors push down on her chest, others working on her stomach wound. Behind them, watching from the window is Niley, crying her eyes out as one of her closest friends... is dead.

Roy races to the window, his nose now stitched. Niley hugs him the moment he gets there - - he doesn't know yet... until he looks in the window... and sees the monitor. Flat lined. He clutches Niley's head into his chest, as his lips quiver - - it's the worst feeling he could've ever imagined.

And then the doctor working on her looks up... directly at the clock. Beat. And Roy reads his lips... "time of death..."

Roy curls over, unable to even console Niley at this point. They both drop to the floor, blubbering messes.

The main doctor working on her takes off his gloves... all hope lost and exits the room. He looks down at Kirby's two friends... he knows they know already... so there's nothing left to say. He just has the horrible face to reality... that he failed.

And then suddenly... beep. Beep. Beep. The doctor spins around and runs back in the room. Roy and Niley climb back up the wall and look into the room. SHE'S BREATHING. The doctors resume work as a smile forms on Roy and Niley's face, congratulating each other in a hug.

PUSH IN - - on Roy... the happiest of faces...

PUSH IN - - on Kirby, her eyes bouncing about, not sure of where she is. She spots Roy in the window... a sight that comforts her. She smiles.

And he smiles back.

CUT TO:  
>INT. JILL'S HOSPITAL ROOM - NIGHT<br>Jill lays in bed, the remote for the TV in her hand, watching coverage of her being wheeled into the ambulance. She's won... she's fucking won. And it's the best feeling she could've ever imagined. She bites her lip in happiness... her now tattered appearance totally fucking worth it. The feeling was everything she dreamed of. It was exactly what she needed... and all the work, planning and carnage was worth it to get to this point. She can now lead a life of happiness... no need for killing. Or manipulation. Or deception. The fame is hers... but as soon as she finishes that thought... Dewey enters the room and she quickly turns off the TV, putting on a fake exterior of pain.

CUT TO:  
>INT. HOSPITAL WAITING ROOM - NIGHT<br>Stephie sits in a chair... "is this even real?" Roy and Niley come down the hall and spot her, immediately coming toward her. They sit down on both sides of her, as Niley rubs her back and Roy tries to look at her face. Her tears have run out...

ROY: Stephie...

She doesn't respond. All she can do is look down at the tile beneath her feet.

ROY: Charlie... it wasn't his idea. He would've never... unless... someone told him to. And I'm sure in a few hours, that'll all be revealed. But the facts are - -  
>STEPHIE: You're saying... Charlie did this?<br>ROY: (beat) He was apart of it.  
>STEPHIE: My Charlie is too KIND. My Charlie is too SWEET. My Charlie would've... NEVER even thought of hurting someone. He loved me, he was nurturing and he put my needs first. He never even pushed the virginity issue with me - - he...<p>

Roy doesn't know what to say. In fact, he figures it's best not to say anything and let the news do the talking when the time comes.

NILEY: Stephie, I saw him with Jill as she was shooting someone...  
>STEPHIE: Jill?<p>

Roy gives Niley a look. "Just forget it for now."

STEPHIE: You mean... Jill did this?

On the TV above, a news report comes in.

REPORTER: Reporting live from Woodsboro Community Hospital, if you're just waking up, there's devasting news this morning. Just last night, the three day killing spree has come to an end with numerous amounts of victims piling up from law enforcement to local teens. Other teens have been found dead but at this time, their connection to the murders have not been verified due to a lack of evidence. The spree culminated on the 300 block of Whispering Lane, the owner still in need of a word and the reason for the teens to have been there currently up for speculation. The only known sole survivor at this time is Jill Roberts, the cousin of Sidney Prescott. As for Sidney herself, the author of the latest best seller, "Out of Darkness" is feared to be in critical condition.

THE SOUNDTRACK THUDS. Roy immediately stands up, as does Niley. Stephie doesn't know what to think.

ROY: This is bullshit!  
>REPORTER: As of the moment, Jill Roberts has yet to release any information to the public and the police have yet to give any statements on who the killers may be, but all we do know, at this time, is they are presumed dead.<p>

Roy looks around the waiting room, completely pissed.

NILEY: They don't know it was her!  
>ROY: I thought for sure she wouldn't get away with it...<br>STEPHIE: You say it was her and Charlie?  
>ROY: Stephie, we know what we saw. My face is like this because she attacked me.<br>STEPHIE: And Charlie is dead... and she is alive?  
>ROY: Her plan worked... it actually fuckin' worked. We have to warn everyone.<p>

Roy immediately spins away and heads for the front desk.

ROY: Excuse me, what room is Jill Roberts staying in?  
>RECEPTIONIST: I'm sorry, I'm not allowed to give information on any guests.<br>ROY: Fuck this.

Roy runs off and Niley chases after him.

NILEY: Wait, ROY!

Roy heads his way down the first hall, looking through various windows into rooms.

NILEY: ROY!  
>ROY: We have to find her!<br>NILEY: She's not here!  
>ROY: What?<br>NILEY: She's not at this hospital!

Roy stops and spins around.

NILEY: (beat) The reporter said they're at the community hospital... this is Woodsboro County Hospital...

SHIT. They bolt back toward the waiting room. Niley looks around.

NILEY: Where's Stephie?

Roy spins around as well... he looks out to the parking lot... Stephie's rental car SPEEDS OFF THE LOT. Roy and Niley jet out the doors and run after her car - - but they're too late.

NILEY: What are we gonna do?  
>ROY: (beat) C'mon.<p>

He leads her off and they run off within the parking lot.

INT. KIRBY'S MOM'S CAR - NIGHT  
>The car SWERVES down the highway, dodging cars now that Roy is behind the wheel. He zooms passed the traffic, Niley holding on to the "oh shit handle." She looks at him and can see the fierce intensity in his eyes.<p>

They curve off the off ramp and come to a light - - it's red. Roy brakes and stops for a moment... he looks back and forth at the traffic... and Niley can see what he's thinking.

NILEY: Uh... Roy... safety first?  
>ROY: No time for that!<p>

HE PUNCHES ON THE ACCELERATOR and they speed through the intersection. Cars brake and squeal to a stop in order not to crash. Niley screams as they nearly run over a walking pedestrian at the cross walk. It's LOUIS, still on the run. He falls over into a puddle and watches the car speed passed.

* * *

><p>2.<br>CUT TO:  
>INT. JILL'S HOSPITAL ROOM - NIGHT<br>Dewey's just left. Jill has her eyes closed, presumably napping. She waits for him to be out of ear shot... and begins to rip off all the tubes and monitors connected to her, PISSED.

EXT. WOODSBORO COMMUNITY HOSPITAL - PARKING LOT - CONT'D  
>Roy turns onto the sidewalk, crashing through the bushes and parking in the first stall he can find. Niley and Roy jump out, running toward the hospital. It's still a media-frenzy but they burst their way through.<p>

INT. SIDNEY'S HOSPITAL ROOM - SIMULTANEOUS  
>Sidney twitches... and wakes up. A bad feeling setting her uneasy. And from the darkness... comes Jill.<p>

JILL: You just won't die, will you? Who are you? Michael fucking Myers?

Sidney props up in the bed and grabs for the call button. Jill RIPS it away from her.

INT. HOSPITAL WAITING AREA - CONT'D  
>Roy and Niley run down the halls and toward the hallways. They come to the front desk - - it's empty. Niley jumps over the wall and into the receptionist's desk, checking the patient listing. Roy's across the way, punching in the elevator button.<p>

NILEY: Okay, I got it!  
>ROY: C'mon!<p>

Niley runs to the elevator to wait... it's taking forever.

NILEY: Fuck it, the stairs!

Niley pulls Roy by the arm and they run to the end of the hall. A group of doctors are filing into a conference room... a meeting's taking place. A few of the nurses take note of Niley and Roy speeding passed... but don't care enough to say anything.

INT. HOSPITAL STAIR WELL - CONT'D  
>They sprint their way up the stairs, jumping and leaping up the steps and skipping some to go faster. Niley's ahead as Roy's getting a bit winded at this point.<p>

NILEY: We're almost there!

INT. SIDNEY'S HOSPITAL ROOM - CONT'D  
>Jill has the gun on Gale as she comes to a stand with her hands raised.<p>

GALE: Can I just - have one final word?  
>JILL: What, PLEASE?<br>GALE: No... clear.  
>JILL: CLEAR?<br>SIDNEY: CLEAR!

Sidney rises behind Jill with the crash paddles and VOLTS Jill in the head. Without a beat, Jill CRASHES TO THE FLOOR and SLIDES across the entire room.

INT. HOSPITAL HALLWAY - CONT'D  
>Niley bursts through the stairway door and Roy follows behind. They run to a door, open and Niley SPINS IN as does Roy to see the sight before them... nothing. Niley looks around in confusion and back at the number on the door... wrong room.<p>

NILEY: Shit, one more flight of stairs up!

As they turn around - - BAM! Both of their heads look up... a shot has come from above them.

* * *

><p>3.<br>INT. SIDNEY'S HOSPITAL ROOM - CONT'D  
>Jill, with the shard of glass in her hand and a hole in her chest... falls to her knees... and collapses on the floor... DEAD. Sid drops the smoking gun.<p>

INT. HOSPITAL HALLWAY - CONT'D  
>Roy and Niley burst through the RIGHT level this time and look on. Gale's running out of the hallway -<p>

GALE: We need a doctor, God dammit!

She runs off in the opposite direction and down the other hall. Roy and Niley continue forward... and look into the room at the chaos before them: Dewey still on the floor, bleeding from the head. Sid with opened wounds bleeding out... and across from her is Jill... pale... cold... still. Roy and Niley remain frozen, breathing heavy at what's before them... in disbelief.

ROY: Is she...?  
>NILEY: Dead?<br>SIDNEY: (trying to get up, using the bed to prop her up) Yeah... she's dead.

JILL BREATHES, blood gurgling in her throat. She's very much going to die, but her last remaining reflexes are kicking in. All eyes focus on her as her eyes begin to shift. Sidney steps back, absolutely horrified this is even possible. Jill begins to sit up and Dewey looks on, his eyes wide in terror.

AND HER SKULL EXPLODES OPEN - - her brains splashing onto Dewey's face. Her body flops back down, REALLY DEAD. Roy and Niley turn around - -

STEPHIE: (still polarized) Always aim for the head... that way they stay dead.

STEPHIE DROPS JUDY'S GUN. The entire room looks on at her in complete shock...

STEPHIE: That was for my Charlie... and everyone else.

Dewey wipes away the brain matter to make sure he's seeing things right. Footsteps come racing down the hallway. Gale, with an entourage of doctors, enter the room. Gale looks down at the horrific scene and looks back at Stephie. Stephie steps away... and into the crowd of doctors trying to huddle into the room.

Roy and Niley watch from the side as Sid, Judy and Dewey get worked on. They come to the sudden realization... they may just be the only ones left.

* * *

><p>4.<br>CUT TO:  
>INT. KIRBY'S HOSPITAL ROOM - MORNING<br>Roy and Niley enter into Kirby's hospital room as she's asleep. They come and sit down next to her bed... watching her sleep... not yet thrusted back into the horrible world she'll be living in once she's done dreaming.

NILEY: (beat) I was mad at her over something so petty.  
>ROY: I'm sure she forgives you.<br>NILEY: That's not the point. Life's too short to be mad over... bullshit. What if I wasn't there tonight? What if Kirby... or you... would've died? (holds back tears) And I would've never forgiven her... and I would've hated myself for all of it and the way I acted.  
>ROY: Sometimes we have to make sacrifices. Sometimes we can't let pride get the best of us. And you're lucky enough to have learned that lesson... while she's still alive. To be able to... change.<p>

Niley hugs Roy big. And in walks Kirby's Doctor.

KIRBY'S DOCTOR: You're Kirbiline's friends?  
>ROY: Yes, her mother is on the way.<br>KIRBY'S DOCTOR: Uh, okay... I'll just give you a little update on your friend than and when her mother arrives, I'll go into full depth of her situation.  
>ROY: Okay...<br>KIRBY'S DOCTOR: Kirbiline's stab wounds were pretty severe and naturally, most human beings would've died from organ damage or a resulting failure, including blood loss. But Kirbiline's case is different. It shows in her records that a few years ago, her appendix burst, which we operated on. Apparently, the scar tissue from the operation... saved her life. But the road to recovery won't be easy and she'll need lots of support through her rehabilitation.  
>NILEY: I could do that!<p>

He smiles.

KIRBY'S DOCTOR: That's good. I'll be back later.

As the doctor exits, in comes - - Dillinger, his waist wrapped in a bandage.

DILLINGER: May I come in?

Dillinger takes a seat despite getting no response and looks on at Kirby. For some reason... it's hitting him hard right now looking at her like that.

DILLINGER: You made it.  
>ROY: Yeah... sort of.<p>

Dillinger just nods and chuckles.

DILLINGER: I'm sorry, Roy. But I was doing my job. It didn't matter if you were innocent or guilty... my job was to keep you detained. (sighs) And I'm glad I... let my job go... for love.  
>ROY: Thanks. I promise you won't have to run into me again, I don't plan on having to stop any massacres. At least not while I'm detained.<p>

Roy chuckles.

DILLINGER: Oh, you won't be seeing me. I quit. Gonna go into retirement. Well, from SWAT at least. Focus on the things that matter more.

Roy doesn't respond... just happy Dillinger could come to that realization.

DILLINGER: You're a good man, Roy Popper. You did the right thing.

He sits up and makes his way for the door.

ROY: Wait... (Dillinger turns around) so... I'm clear? No... warrant out for my arrest or anything?  
>DILLINGER: (smirks) Enjoy your life, Mr. Popper.<p>

And he exits.

MUSIC CUE: Tony Lucca - Devil Town [youtube. com/watch?v=Rfo9VAQxmKI]

Roy and Niley just turn and look each other... and Kirby's eyes... open.

KIRBY: What the fuck happened?  
>NILEY: Oh thank God.<p>

Niley leaps forward and hugs Kirby. Roy smiles, watching from the foot of the bed.

KIRBY: Easy, easy, my stomach!  
>NILEY: Sorry.<p>

A SERIES OF SHOTS:  
>"Devil Town" continues<br>(0:20 - 0:28) Hundreds of Woodsboro residents enter into the graveyard.  
>(0:29 - 0:40)Different takes of different kids in solemn attitudes, saddened by the recent losses.<br>(0:41 - 0:58) And the hearses make their way to the burial plots.  
>(0:59 - 1:07) CLOSE IN on JENNY RANDALL'S tombstone... as the paulbearers begin to carry out.<br>(1:08 - 1:16) CLOSE IN on MARNIE COOPER'S casket as it's set down onto the lowering mechanism.  
>(1:17 - 1:22) CLOSE IN on ROBBIE MERCER'S photo as he smiles in a typical yearbook photo as the priest says words.<br>(1:23 - 1:35) CLOSE IN on JOSEPH MORRIS' deeply saddened expression as he watches... Olivia's casket lower into the ground. He comes forward once it hits the bottom... looking long and deep down below... and back up at everyone in attendance... and then back down at her casket... and drops a rose in.  
>(1:36 - 2:43) Kirby sits in her hospital bed as Niley feeds her ice cream, doing the "airplane" with the spoon toward her mouth. Roy watches from across the room, holding a camera and filming the beautiful sight.<br>And just then, an entire room of former students pile into the room, handing her teddy bears, roses, chocolate. Etc. She cries as different people pay their respects to her. Kirby's mother, Beverly, watches from the corner and smiles on. Her phone then rings and she jets out of the room. Kirby looks for her mother to see if she's seeing this... but goes back to thanking everyone giving her hugs and gifts. Roy closes the camera... letting this one moment not be captured on film for once... Niley looks up at Roy... she smiles... he smiles back... but there's a sadness within they both can't shake...  
>(2:44 - 3:28) Roy and Niley make their way into the cemetary. The entire place is long empty and nights beginning to fall. They look on at all the fresh plots in front of them of their former friends... it's depressing.<p>

LOUIS: Hey.

Roy turns around... ready to beat this mother fucker's head in.

ROY: What the fuck are you doing here?  
>LOUIS: I couldn't make it earlier... look, I don't want trouble. I made a mistake... you're presumed innocent.<br>ROY: Really? You made a mistake? Because there's more funeral later this week that you're responsible for because of those mistakes. And that's all you have to say?  
>LOUIS: I thought I was doing something right... maybe I was.<br>NILEY: Hey... he risked his life to save others. Show some respect!  
>LOUIS: I can't prove that. But congratulations... that makes you the Cinema Club president now. Are you proud?<br>ROY:... get the hell outta here.  
>LOUIS: I know you had something to do with this... (looks at Niley) maybe even you too.<br>NILEY: Hm. Really?  
>LOUIS: You just so happened to be spared? Gimme a break...<br>NILEY: Well Louis, I have a little secret...

SHE PUNCHES HIM IN THE NOSE and he falls back. Roy laughs as Louis looks up at Niley, surprised she threw that helluva punch.

NILEY: You got a problem with it, you know where I'll be! SUCKA!

Louis gets up, dusting off his pants and tending his bleeding nose... and walks off.

ROY: Gangster Niley. Really?  
>NILEY: It's effective.<p>

CUT TO:  
>INT. MORTUARY - DAYS LATER<br>Sidney holds an urn in her hands after being handed to it... Jill's name printed on the side. PULL BACK and Sid's in a wheel chair.

SIDNEY: Well... isn't this a quaint family reunion?

CUT TO:  
>EXT. LAKE - DAY<br>Stephie sits in a kayak, way off in the water. She looks on at the shore and down at an urn in front of her. She picks it up and closes her eyes while putting her head against it.

STEPHIE: My Charlie... I will always miss the you I knew... the you I came back for... the you I loved. Goodbye.

She opens the urn and pours his ashes into the water. A bird then comes down and lands on the side of her boat. She watches as it comes forward... Stephie takes out a brown paper bag and feeds it a bit of bread. It flies off, gobbling it up and going toward the sun.

STEPHIE: May you fly my way some day... and we meet again...

CUT TO:  
>EXT. NILEY'S - DAY<br>Sidney parks her car and comes toward Niley's house. Niley exits the front door, trash bag in hand. She yells into the house.

NILEY: I SAID I'LL TAKE THE TRASH OUT, MOTHER!

She turns around and stops in her tracks when she sees Sid's there.

NILEY: Oh, hi.  
>SIDNEY: Heeeey.<p>

Niley quickly runs to the trash can and throws the bag in it.

NILEY: What's... what's up?  
>SIDNEY: I just saw Kirby and Roy at the hospital and they said you'd be home.<br>NILEY: Oh?  
>SIDNEY: Yeah, I'm leaving tonight.<br>NILEY: Well hopefully we see you again soon.  
>SIDNEY: Yeah... hey, come here.<p>

Sidney sits on Niley's porch and Niley sits across from her.

SIDNEY: I just want you to know everything is going to be okay.  
>NILEY: You sure?<br>SIDNEY: Yeah. I've been through it... it doesn't get easy but it... it doesn't hurt so much after awhile. Being betrayed like that is... it's one of the biggest things you'll ever face.  
>NILEY: I just... I thought they were my friends.<br>SIDNEY: (beat) They were. Just somewhere along the way, they got lost. And that new person came out that we didn't recognize.  
>NILEY: (beat) What happens when everything we know is gone?<p>

Sidney feels for this poor, innocent girl... so she gives her a hug.

SIDNEY: You fight through it all. You hold onto the good times. As much as you possibly can.  
>NILEY: Thank you...<p>

CUT TO:  
>INT. RILEY'S RESIDENCE - MASTER BEDROOM - NIGHT<br>Gale sits at the computer, typing away feverishly. Dewey enters, surprised she's writing.

DEWEY: Just dropped Sid off at the airport. (realizes Gale's writing) Found inspiration?  
>GALE: This new book is going to sell just as much as the first one! The Anniversary Massacre? Jesus, I couldn't have planned it better myself...<br>DEWEY: (beat) Wait a minute, I'm sorry, could you say that again?  
>GALE: Dewey! I'm about to be thrown back to the top of the bestseller list with this book of the last murders. Screw fiction, reporting eyewitness events is my thing!<br>DEWEY: Gale, I thought we went over this. Let's just... drop it. No more exploiting these kids for your fame.  
>GALE: Fame? Exploiting? Who else is going to tell this story?<br>DEWEY: Did you ever stop to think that maybe THIS story doesn't need to be told?  
>GALE: And Dewey, what about my fans who've been waiting for my comeback? You should be excited, we're gonna actually pull in some income again.<br>DEWEY: What about these peoples lives? I run this town, it's different now. I can't be husband to Gale Weathers, reporter and muck raking journalist trying to hock books on the last tragic event that'll probably spawn another movie!  
>GALE: This is what I do! You know me, don't act like I changed all of a sudden and this is new to you.<br>DEWEY: (beat) I just thought you changed... that's all. But I guess I was wrong. You're still just Gale Weathers.  
>GALE: Gale Weathers-RILEY.<br>DEWEY: No... just Gale Weathers.

He exits throwing down his belt onto the bed. Gale sighs... and looks back at the computer screen... contemplating whether or not she should continue... maybe he's right... or maybe he's wrong... and she begins typing again.

* * *

><p>5.<br>CUT TO:  
>INT. KIRBY'S HOSPITAL ROOM - NIGHT<br>Roy's leaned over onto Kirby's bed, passed out as she looks up at the TV, flicking through the channels. Her mother enters, sipping a cup of cocoa.

KIRBY: Where's mine?  
>BEVERLY: Ah shit, I knew I forgot something!<p>

She runs back out, slamming the door. Roy's head jolts up and Kirby admiringly watches him.

KIRBY: It's getting late. You should go.  
>ROY: (yawning) Yeah.<br>KIRBY: You don't have to come every day.  
>ROY: But I want to.<br>KIRBY: Well I get out next week. I'd rather you see me... better instead of like this.  
>ROY: I don't care how you look, you're my best friend.<br>KIRBY: (beat... then smiles) Best friend?  
>ROY: Yeah...<p>

She looks on for another moment... and her smile fades. And she begins to cry.

ROY: Heeeey, hey, hey, what's wrong?

Roy huddles over and throws his arm around her.

KIRBY: My last best friend tried to kill me. You're gonna have a hard time living up to that.  
>ROY: Well I'm not crazy, so that's the upside. Nor do I have any cousins that I want to steal fame from.<br>KIRBY: And Charlie... I was really starting to like him... that'll do wonders on my love life.  
>ROY: (beat) Something tells me you won't have to worry.<br>KIRBY: I just can't... get the image out of my head. Of those two... and what they planned. Throwing our names around like we were just... pawns to get ahead in their little scheme. Did we mean that little? Did we ever mean anything? With Robbie and Olivia... gone, I just... and Trevor, Jenny and Marnie... so many countless others they can't tie to them but I just know they were apart of it... what kinda sick person does that? What makes someone do... what they did? Was she always like that from when I first met her, was she always planning it? Or did I do something wrong and then it triggered it, I don't - I don't know. And that's the craziest thing... to try and trust somebody again. Your best friend one minute and behind closed doors, they're mapping out how to brutally murder you. I've never felt so violated... so stupid or betrayed. But we're the only ones left. We made it... for whatever fucked up reason... we're left... and they're not. They're gone... they're gone. For forever.

CUT TO:  
>EXT. ROY'S - NIGHT<br>MUSIC CUE: Paramore - Misguided Ghosts [youtube. com/watch?v=Kb9jXwHmkM0]  
>Roy parks his car in the driveway and exits. Coming up his pathway, he senses something... someone. He turns around... and on the sidewalk stands... TESS.<p>

TESS: Hey.  
>ROY: What are you doing here?<br>TESS: I came to say... sorry for what happened to you.

Roy remains silent, unable to even speak... shocked, pissed off or happy, it's too hard to tell.

TESS: Aren't you gonna say something?  
>ROY: (beat) Where have you been, Tess?<br>TESS: Around. I moved.  
>ROY: I saw. Where to?<br>TESS: (shakes her head) It doesn't matter.  
>ROY: Why'd didn't you tell me anything?<br>TESS: (shrugs) Scared. I was scared of everything. Of you, of how serious our relationship was, the way girls looked at you - - I couldn't... I couldn't put up with it anymore so when we were moving, I just... I didn't tell you about it. And then when the day came... I left that note. I know it was shady and fucked up but... I'm sorry. And I heard about what happened. And I know it must hurt more than anything and our little troubles between us must not mean anything in comparison but I felt like I had to say something to you. I know it's been like 2 whole months since what they did but still...  
>ROY: You're right. Because apparently we were nothing.<br>TESS: That's not true. I was fucked up... still am... I didn't want to hurt you anymore. (sniffles) I can't. You deserve better than me. And it hurts me more than anything to let you go... because I love you... so much. But I have to do what's right... and I knew no matter what I said or did, you would try to keep me around and I would only drag you down into the mud and drown you. And you deserve to be... in the clouds. (shrugs) I know it hurt you and I'm sorry... and I know you're hurting now... and I'm sorry I couldn't be there for that too.  
>ROY:... go home, Tess. Wherever the hell that might be.<br>TESS:... if you ever wanna talk, I'm still on the same street. I'll be back at Woodsboro in August. I hope you can forgive me, that's all. (long beat) Bye.  
>ROY: Bye.<p>

She walks off... and he enters his house as "Misguided Ghosts" fades out. And that chapter of his life... closes... for now.

FADE OUT.

* * *

><p>6.<br>FADE IN:  
>EXT. WOODSBORO HIGH - MORNING<br>TITLE CARD: October 2011  
>It's a new day. Fall is here. The leaves are yellow, orange. Halloween decorations are starting to pop up everywhere. The students file their way into the school for a new year. And walking among them... is our new group: Kirby, Roy, Niley, Harold and Joseph.<p>

ROY: I got word back from that special guest to come into Cinema Club this week.  
>JOSEPH: Yeah? Finally.<br>NILEY: Who is it? Lemme guess! Oh wait, I don't wanna know! But I do! Tell me! No, don't! Screw it, I wanna know! Okay, don't!  
>KIRBY: Jesus, Niley, relax.<br>NILEY: Jesus Niley... that sounds like a good name.  
>HAROLD: No you didn't.<br>NILEY: Better than Christ, makes me think of Christmas...  
>HAROLD: I kinda think that's the point.<br>NILEY: It should be called Clausmas. What does Jesus have to do with Christmas anyway?

They all just look at each other. That damn Niley. And they burst into hysterical laughter.

ROY: Oh that's good, Niley. That's good. You should be a comedian.  
>NILEY: I'm serious!<p>

As they're laughing, Roy looks on at the people coming into the school behind him... and stops before entering... an odd feeling comes over him... but he shrugs it off and runs back into the school following behind his friends.

CUT TO:  
>INT. SURVIVORS CLUB MEETING - MORNING<br>Kirby enters the room, a bit late, cutting off a somewhat heavy set girl named MARIAH in the middle of her story.

MARIAH: It's like eating was the only thing I could control...

The door slams behind Kirby on accident. She tries to creep in.

KIRBY: Sorry, continue!

Mr. Leeds gleams.

MR. LEEDS: Kirby, come on in here, we're just starting!  
>KIRBY: Okie dokie.<p>

Kirby sits and looks at the girl next to her, CARRIE. Goth and totally full of problems, abundantly apparent by the scars on her arms. Kirby's uncomfortable and totally doesn't know what else to say...

KIRBY: Nice scars!

Kirby nods... but totally knows that was the worst thing to come out of her mouth.

MR. LEEDS: Kirby, share with us today. What's on your mind?  
>MARIAH: I wasn't done with my stor - -<br>MR. LEEDS: Mariah, please, Kirby's about to speak.

Mariah dips her head, ashamed. Kirby doesn't want to make it any more awkward than things already are.

KIRBY: So uh... had a dream last night... instead of him stabbing me, his kisses me.

We begin to PULL BACK.

KIRBY: Full on tongue and the lips and everything. He was a good kisser but uh... you know, serial killer and all... not attractive so I push him off and - -

Kirby's voice begins to fade out as we now PUSH IN on Mr. Leeds. He smirks listening to Kirby's story. And standing next to him is Chelsea, jealous she's not getting the attention she deserves.

CHELSEA: This is it, isn't it? You're letting me go? (he doesn't respond) I hope she's everything you ever wanted...

And she CRUMBLES to the floor, like ash and floats away. And appearing in her place... is KIRBY.

KIRBY: Don't you just love listening to me talk?

Mr. Leeds smirks... a new and better replacement for his conscious now exists. She places her hand on her shoulder, lifting her self up to his ear... whispering...

KIRBY: All you have to do... is find out how to have me... and I'm yours...

* * *

><p>7.<br>CUT TO:  
>INT. WOODSBORO HIGH - CINEMA CLUB - DAY<br>Roy enters into the classroom and looks at all the students among him. He goes about his business as usual until... something comes over him... that same feeling... that something's coming. He can't shake it... but he looks up at the people he's the leader of... and puts on a smile.

ROY: Good afternoon, fellow film nerds. (scans their faces) It's so nice to see you all. (beat... deep breath) Fuck it. I was gonna give a speech but... I'm sure you're tired of those, right?

They all chuckle.

ROY: Fate. That's the theme of the day. So what is fate? What's destiny? What's serendipity? Do you believe everything is predestined to occur? Or do you believe it's all just coincidence? These are some of the tough questions asked in our film of today, "Signs."  
>HAROLD: Roy, seriously, that's not horror.<br>ROY: It's scary as shit. The "disturbing footage" scene? C'mon.  
>HAROLD: Point made.<br>ROY: Life is a tricky thing. It's mysterious and vast. Like the universe. Life is a universe and we are galaxies just intertwining with each other. Sometimes we pass by one another and we don't realize. And sometimes we crash and it's the biggest thing to ever happen to us. It's a domino effect, right? Or if you're more familiar with Ashton Kutcher, a Butterfly Effect? What causes things to crumble down? What collapses the Jenga game? Every thing has a starting point... that leads to your fate. Can you pinpoint yours... and what is your ultimate fate? And what's the point of it? What's the point of life even? Maybe sometimes, the bad things in our lives occur to give us a clue. To show us what matters most. (beat) Not to sidetrack or anything... but this very room is responsible for so many things wrong and right in my life right now...

PUSH IN...

ROY: It's hard to imagine... where things would be without it... but at the same time's it so easy...

The light from the window shines BRIGHT and we

* * *

><p>8.<br>TRANSITION TO:  
>EXT. PENCIATTI HOTEL - NIGHT (ALT UNIV)<br>TITLE CARD: June... 2021  
>The parking lot is full as searchlights beam outward to the night sky. A banner hangs over the entry way... "Woodsboro High, Class of 2011 Reunion."<p>

INT. PENCIATTI HOTEL - MAIN FLOOR - CONT'D  
>OLIVIA grabs a glass of punch and keeps it close to her chest. She then slips out a flask from her beneath her dress and pours alcohol into her drink. She turns around and looks onward to the crowd before her, dancing the night way. Olivia bitterly sips her drink, almost a total representation of what she's become now all these years later.<p>

From the crowd, emerges JENNY. As headstrong as ever, confident and beautiful, Jenny approaches Olivia with a warm smile only not to get one in return.

JENNY: Enjoying yourself?  
>OLIVIA: (abnoxious mocking) "Enjoying yourself?"<br>JENNY: Wow. Ten years later. Still a bitch.  
>OLIVIA: Go fuck yourself, Jenny.<br>JENNY: You know, you didn't have to come.  
>OLIVIA: How could I just ignore the lovely invitation though? For this little reunion you so happened to set up so seamlessly by yourself. You must be proud. Right?<p>

Jenny takes a long beat. Olivia's immature bullshit isn't enough to phase her anymore. She simply smiles.

JENNY: Right. Have a good night, Olivia.

We now FOLLOW JENNY as she returns into the crowd as Olivia angrily sips her punch - alone. Jenny's walkie chirps and she quickly answers.

ASSISTANT: Jenny, he's making his big entrance.  
>JENNY: I'll be right there!<p>

Jenny tries to rush through the crowd toward the entry way.

INT. PENCIATTI HOTEL - ENTRY WAY - CONT'D  
>Jenny comes to the front doubled doors that are propped open as people enter and stares out into the parking lot. She politely greets guests as they come in. She keeps her eyes onward though, as if she's looking for someone. From the side, she's ambushed by someone a bit familiar...<p>

MARNIE: Good work stealing my location for the Breckin reunion, Jenny Randall.  
>JENNY: Marnie Cooper, I assume?<br>MARNIE: You assumed correctly. I had this listed for months, how much exactly did you pay them to overtake my reservation?  
>JENNY: Not much. Matched the price and added my charm.<br>MARNIE: Cute. Because of you, we're stuck in a smelly gym.  
>JENNY: Don't be a poor sport because you didn't get your way. You booked this place for every prom every year, even after the county lines claimed it as Woodsboro. It only seemed fitting.<br>MARNIE: (beat) Well I guess I should get going... I just wanted to see what horrible catastrophe this place was with you heathens running it. (eyes a candle by the drapes) Might wanna take care of that. Don't want this place burning down.  
>JENNY: Oh, don't worry, I have it under control.<p>

From behind Jenny, ROY enters with drink in hand. He stops and looks down at Marnie. She looks back at him... amazed.

ROY: Hi.  
>MARNIE: (gulps) Hi.<br>JENNY: This is Marnie Cooper. She's head of the reunion over at Breckin this year.  
>ROY: Oh, that's right, I've heard of you.<br>MARNIE: (practically begins to sweat) You have?  
>ROY: Yeah. Weren't you valedictorian?<br>MARNIE: (blushes) I was but -  
>JENNY: Roy, Marnie was just leaving.<br>ROY: Oh, too bad. Nice to meet you.  
>MARNIE: Actually, I can stay and chat - - with you - - if you'd like.<p>

Roy smiles nervously. Jenny butts in.

JENNY: He's married.

Roy flashes his wedding ring.

ROY: Here with the wife. My reunion's not until next year anyway.  
>MARNIE: Oh, I, um... yeah. I gotta... get back to my thing.<br>JENNY: Back to where you belong.  
>MARNIE: YEAH, it REALLY is.<p>

Marnie just glares for a moment longer at Roy... and she stumbles away.

JENNY: She was drooling all over you.  
>ROY: I wouldn't tell my wife that, she wouldn't be too happy if she heard. She sorta has a temper.<br>JENNY: Oh, believe me... I know.

A limosouine pulls up to the entrance. A mob of papparazzi crowd the door and await. It opens. ROBBIE exits in a flashy tux, all smiles. Behind him comes OLLIE. Robbie takes him by the hand... and he gives him a quick peck on the lips just for the camera. They both make their way up the steps, hand in hand.

JENNY: Robbie, welcome.  
>ROBBIE: Jenny, I've missed you! (hugs her) Roy! (hugs Roy)<br>ROY: Hey, man.  
>ROBBIE: When you gonna come audition for one of my films?<br>ROY: (bashful) Ah, you know I can't. You know how the missus feels about public attention.  
>ROBBIE: Ah, she's crazy. You're a star, Roy!<br>JENNY: What about me? You don't want my face all over the screen?  
>ROBBIE: Eh, no offense, but you're better suited for porn.<p>

Robbie clicks his tongue and Jenny slaps his arm.

JENNY: You guys have fun in there. And dance, it's getting a bit too mellow for my liking.  
>ROBBIE: I'll see you on the dance floor!<p>

Robbie and Ollie continue their way inside. Roy and Jenny stand there, watching them go in. Jenny awkwardly looks up at Roy and he looks back...

ROY: I should get back.  
>JENNY: (smiles) My best friend is waiting for you.<br>ROY: No, her and Charlie were hitting it off quite well. Like they're refound best buds or something.  
>JENNY: Careful. Charlie always had a thing for her...<br>ROY: What? Really?  
>JENNY: I'm just messing. Go. I'll see you out there.<br>ROY: You'll be okay without me?  
>JENNY: (beat) I can handle this just fine. You're not as much of a superhero as you think you are.<br>ROY: Crushing my dreams. Like always.

INT. PENCIATTI HOTEL - MAIN FLOOR - CONT'D  
>Roy makes his way back across the main floor to a female with her back turned towards him while Charlie talks to said female. Roy slowly walks up, letting them finish up their conversation without intruding. Charlie nods to Roy, as to indicate that he's there to his fellow converser. She turns around - JILL.<p>

ROY: Hello beautiful.

They KISS. Charlie takes a sip of punch to not have to watch the sight.

CHARLIE: Speaking of wives, have you seen mine?  
>ROY: Not since I arrived, no.<br>CHARLIE: I should go find her than.  
>ROY: I'm sure she's fine.<br>CHARLIE: No, no - she usually needs me to help her get out of conversations she didn't intend on having in the first place. Jill, as always, it was a pleasure seeing you again. Let's not make it too long before we talk again.  
>JILL: We mustn't.<p>

Charlie smiles and heads off. Jill and Roy press their backs to the wall and look on at the people in front of them.

JILL: God, this is weird.  
>ROY: Tell me about it.<br>JILL: You ever imagine 10 years from now, everything would be the way it is?  
>ROY: Not at all. (beat) But I'm glad it did.<br>JILL: (beat, smiles) Me too, honey bear.

They kiss again - - and are BUMPED into by a couple dancing around. They turn to apologize. TREVOR and CHELSEA.

CHELSEA: Sorry, guys!  
>TREVOR: (laughs) Yeah, sorry.<p>

They both drunkenly feel on eachother.

TREVOR: It's almost like I was supposed to find you.  
>CHELSEA: He always says things like that!<p>

They both laugh and Roy and Jill can't help but smile for them.

ROY: Well that's great for you two. Rent a room. Quench that thirst.  
>TREVOR: Doesn't sound like a bad idea.<br>CHELSEA: Heeeey, you have to buy me dinner first.  
>TREVOR: As long as you're my dessert.<p>

He nibbles on her neck and she laughs heartily. They both continue to dance and rejoin the group.

JILL: Dear God, he was annoying.  
>ROY: Almost makes you wanna punch him in the nuts. She's happy though.<br>JILL: I guess he's worth something than. (sips drink) Not like it'll last anyway. You can just tell instantly by looking at him, he's not the type to settle down. Let alone how he actually was in high school...  
>ROY: Well... same for her.<br>JILL: I'm gonna go find Niley. See which one of the kids she's playing with.  
>ROY: Alright, honey. I love you.<br>JILL: Love you, too!

Jill walks off and Roy remains. As she does, Katherine and Leo come toward him, hand in hand.

KATHERINE: Roy! So nice seeing you.  
>ROY: Heeeey. If it's not Ms. Valedictorian herself.<br>LEO: She beat me by one point of a GPA.  
>KATHERINE: Yeah, remember it!<br>LEO: It's stuck with me for the rest of my life. That's how she wins every argument.  
>ROY: "Who's the smarter one?"<br>KATHERINE: Exactly, it works everytime.

* * *

><p>9.<br>"Earth Angel" by The Temptations softly fades on [youtube. com/watch?v=6sw06XolOIA]. (0:10) Katherine's face lights up in mid conversation with Roy.

KATHERINE: I love this song! (grabs the hand of Leo) C'mon! Be right back, Roy!  
>LEO: Nice seein' ya, Roy.<br>ROY: You guys have fun!

(0:26) Roy smiles at the tenderness of it. He stands there alone, watching the couple begin to dance.

We follow Jill as she goes through the crowd... and comes to a few tables set off in the corner. Little kids sit about, chatting with one another. And then she sees... a little girl in a blue dress and a red ribbon in her hair.

JILL: Niley!

The little girl looks up. She's 4, 5 at the most and she runs over to Jill.

NILEY (Jill's Daughter): Mumma!

Jill picks her up and lifts her, kissing her cheek.

JILL: You having fun, pumpkin?  
>NILEY: Yeeeeeah.<br>JILL: Who are these other kids you're playing with?  
>NILEY: I don't know der names.<br>JILL: Well you have to ask. Right? Be friendly?

Niley doesn't speak, just looking at her mother's face. She touches her skin and looks her in the eyes... and Jill looks back at her offspring... a beautiful reflection of who she is.

JILL: (beat) Niley?  
>NILEY: I'll go ask den. Lemme down.<br>JILL: Oh, but I wanna eat you up! (gobbles on her neck) I just wanna eat you up!  
>NILEY: Naaaaaooooo.<br>JILL: You're my pumpkin pie! You're my love!  
>NILEY: Daddyyyyy!<p>

Jill turns in Roy's direction across the room. He waves over at mother and child.

JILL: Daddy can't save you from me, I'm going to eat you all up!  
>NILEY: Mommy, you're a monster!<p>

Something about that resonates with Jill for a moment and her playful attitude disappears...

JILL: Yeah... (brushes Niley's hair back) Okay, go play. (lets her down and pats her on the butt) And have fun, Niles. Rememebr to share!

Niley runs back to the kids, her curly hair bouncing up and down as she sits down with the rest of the kids. Jill holds her necklace... watching Niley for a moment longer... and turns back toward the dance floor.

(2:26) And then a hand slides up Roy's shoulder, sneaking up on him. He merely jumps and looks back at a stunning long haired blonde in a black dress - KIRBY. She smiles at him, the sweetest sense of familiarty and contempt but a friendship that's gone cold.

KIRBY: Hey stranger.  
>ROY: Kirbiline, wow.<br>KIRBY: Kirbiline?  
>ROY: Kirby, sorry.<br>KIRBY: (in reference to Chelsea and Trevor) Those two are cute, aren't they?

Roy pauses for a moment, still shocked by her utter beauty which renders him near incapable to answer. He stumbles upon his words but they do finally come out.

ROY: Yeah. (gulps) They're great together.  
>KIRBY: So what are, uh... you up to these days? We haven't talked since...<br>ROY: (long beat) The funeral, yeah. Um... nothing much.  
>KIRBY: 5 years and nothing much?<br>ROY: 2016 wasn't my year, let's just put it like that.  
>KIRBY: You got married to Jill that year though.<br>ROY: And lost Niley at the beginning of it.

Kirby doesn't know what to say. It was hard on ALL of them. They both try to rebrighten back up the conversation. But in perfect Kirby style...

KIRBY: Her and cars? Bad mix anyway...

... the most unappropriate thing to say at that moment... but for some reason, Roy laughs.

ROY: Your sense of humor is DARK.  
>KIRBY: Wasn't really a joke but sure, thanks. I wish film producers would feel the same. Not even Robbie will buy my script and I wrote one specfically for him about the film nerd who fell in love with the gay high school quarterback.<br>ROY: Well if he put it into production, that'd be too "meta."  
>KIRBY: Jesus, haven't used that word in ages. (beat) Hey, speaking of the wedding, I haven't met little Niley. She here?<br>ROY: Yeah, she's with the kids in the corner.

There's another beat. They share a glance that's probably a bit longer than usual.

ROY: Well don't change too much, Mrs. Walker. Charlie was looking for you.  
>KIRBY: Ah, shit, I'm in trouble than. I was outside smoking a cig.<br>ROY: You smoke now?  
>KIRBY: Back off my shit. (beat) I picked it up after the divorce to Prichard. Haven't been able to put it back down. By the way, I know Jill's probably pissed at me for not inviting you guys to our hitching.<br>ROY: Pissed? No. She could never be mad at you. Saddened? Maybe. Charlie apologized for it already anyway.  
>KIRBY: Things happened so fast. He was just there when I needed him...(beat... looks at Roy) But sometimes you wonder if it was a mistake or not.<p>

He stares at her as she takes a sip of punch. But she stares right back. "No One's Gonna Love You" by Band of Horses [youtube. com/watch?v=cuZo7pLnL7c&ob] then comes on over the speakers... the stare lingers...

KIRBY: Hey, uh... not to be awkward or anything, but wanna dance?

Beat. He holds out his hand. She takes it and follows him out to the dance floor. There's a beat between them before they come close together. Almost like an embarassing kid like behavior. Resorting back to how shy they were from before. Tapping into something that they weren't even sure existed before... or did it?

She steps forward, placing her hand on his shoulder. He places his hand on her waist. They both smile... and she puts her head on his shoulder. And they begin to sway... Roy thinks for a bit.

Jill watches them from across the room... her eyes glowing with fury... but she hides the jealousy well. Her cell phone rings and she quickly answers.

JILL: Hello?

INTERCUT WITH:  
>INT. SIDNEY'S CONDO BALCONY - NIGHT<br>Sidney comes toward her balcony overlooking the ocean with a baby in her arms.

SIDNEY: Hey babydoll.  
>JILL: Sid. You caught me at my high school reunion.<br>SIDNEY: Drink it in, I never went to my own.  
>JILL: So how are you?<br>SIDNEY: Good. Little Andrew just learned how to crawl.  
>JILL: Oh my God, really? !<br>SIDNEY: Yup, you gotta come by and see him.  
>JILL: Definitely, I'll fly in maybe next week.<p>

Jill's bumped into by PATRICK. He stares at her... creepy like... and keeps walking.

SIDNEY: Just lemme know when you decide.

And just then, Jill's bumped into again, this time by Cory. He smiles politely, excusing himself and keeps walking.

JILL: Hold on, I'm in like the most common spot for foot traffic or something.  
>SIDNEY: Oh no, I gotta go anyway, I just wanted to tell you the news.<br>JILL: Oh, well thanks for the update, cuz.  
>SIDNEY: I miss and love you, Jill, you're my favorite! Tell Aunt Kate the same.<br>JILL: (beat)... I love you, Sidney.  
>SIDNEY: Bye Jill.<br>JILL: ... bye.

They both hang up and Jill stays still for a moment. Charlie rejoins her and sips his punch as he watches them too.

CHARLIE: I'm not sure if we should be jealous or if we should just dance too.  
>JILL: (beat) We should dance too.<p>

Jill puts down her drink and grabs his, putting it down for him. She pulls him out to the crowd and they begin to dance close as well.

* * *

><p>10.<br>Back to Roy and Kirby...

ROY: No... it was fate.  
>KIRBY: What?<br>ROY: You said you wonder if you made a mistake... I don't think so. I think some things, sometimes, are just... fate. Wherever we are. Whatever universe this is. Alternate, parallel, it doesn't matter. Things work out the way they're supposed to.  
>KIRBY: (long beat as she lifts her head and stares into his eyes) Yeah... fate.<p>

Back to Charlie and Jill...

CHARLIE: I'm married, you're married. Even Robbie's married. Crazy, huh?  
>JILL: I don't think we know the half of what crazy is, Charlie.<br>CHARLIE: Sure we do. We lived it. (sarcastic) Woodsboro High was all sorts of insanity.  
>JILL: (chuckles) I'm pretty sure it was as tame as it gets. No teacher-student affairs or brooding rivalries tore our group apart.<br>CHARLIE: (smiles) I guess you're right. Instead of West Side Story or 90210, we were a timid Disney Channel show. But the good ones, like Lizzie McGuire or Even Stevens.  
>JILL: I guess we could've used some juicy drama. Might've done us some good.<br>CHARLIE: My Asian girlfriend left me with promises to return and never did, does that count?  
>JILL: (shakes her head, "what a dork") Hardly.<br>CHARLIE: (beat) I'm glad there wasn't any drama... I think things worked out perfectly.

"No One's Gonna Love You" fades out.

"Landing Party" by Michael Giacchino fades in [youtube. com/watch?v=yxxuYUWsTXU]

(0:00) Jill looks on at Robbie and Ollie slow dancing.  
>(0:10) And then over to Katherine and Leo dancing.<br>(0:19) And then at Trevor and Chelsea practically getting it on in a corner, but having the time of their lives, nonetheless.  
>(0:38) And then she looks at Olivia, a wallflower. Shirley and Richie pass by... ignoring Olivia completely.<br>(0:58) And then at Jenny welcoming everyone in, completely enjoying her role as the coordinator.  
>(1:17) And then at her daughter, Niley, waving to her mom from the tables as she plays with the other kids.<br>(1:36) And then at Kirby with her head laid on Roy's shoulder as they sway back and forth, a bit too intimately. Jill's fine with being uncomfortable though... she has no feelings of lashing out. She's perfectly calm, inside and out.  
>(1:55) The words Charlie spoke before practically replay in her head. "I think things worked out perfectly."<br>She becomes overwhelmed with emotion... and tears stream down her face. She can't help but think...

(2:23)  
>CHARLIE: What's wrong?<br>JILL: Nothing... (long emotional beat) like you said... everything is perfect...

CRANE ABOVE THE DANCE FLOOR AS WE - -

(2:30)  
>FADE OUT.<p>

* * *

><p>11.<br>FADE IN:  
>INT. SCHOOL HOUSE - NIGHT<br>(2:38) Roy continues to look on at the floor in front of him at the melted candles... as if they're a haunting reminder that the past is real and can't be changed. He takes a deep breath... and his eyes begin to water a bit... but then from behind him... enters Niley. Niley joins him on the floor, examining the candles as well.

(2:47)  
>NILEY: Roy...<br>ROY: ... Yeah?  
>NILEY: (beat) I miss them.<br>ROY: Me too, Niley. Me too.

(2:56)  
>The tear he tried so hard to keep in... falls from his eye. She leans her head against his shoulder... and we PULL BACK. As we pull back... Roy and Niley disappear... and the wick from the candles begins to reform... and relight themselves...<p>

(3:00 - 3:24)  
>And now sitting there, as they were years before... Jill... Charlie... Jenny... Robbie. All four of them laugh at each other as the Ouija board sits in front of them... we continue to PULL BACK as the original scene plays out... and now they're just far off in the distance...<p>

FADE TO BLACK.

EXT. WOODSBORO HIGH - FOUNTAIN - DAY  
>Jill sits up on the edge of the fountain, looking off camera toward an interviewer; a deleted clip from "America's Youth" we're now barely just seeing.<p>

JILL: I always questioned if I'd be worth anything to anybody. I always wondered if I meant a thing to just at least one person. If I was someone else's entire world. And if I was, then that would mean my life is worth it. But I guess that's just normal teenage thoughts, huh? (beat) I just wanna be remembered. I want someone to care when I'm gone. It's the scariest thing in the world to think if you mean nothing to anybody now... then when you die, you might as well have not exist. I want to exist... I want to be remembered...

SMASH TO BLACK.

"Don't You Forget About Me" by David Cook SMASHES ON [youtube. com/watch?v=EBEP1K1OtGY].

JILL (O.V.): ... for forever.

**THE END**

* * *

><p>GUEST STARRING<br>Jeremy Allen White/Topher Yates  
>Hayley WilliamsLynn  
>Bella ThorneShirley Mack  
>Ashley TisdaleTaylor  
>Debby RyanKatherine Malefecint  
>AnnaSophia RobbEsline Grotto  
>Tania RaymondeMayra Sashe  
>Jesse PlemonsNick Zahn  
>Callan McAuliffeJoseph Morris  
>Sarah HylandTess Martin  
>Olivia "Chachi" GonzalesSolai Romano  
>Selena GomezAmanda  
>Chase EllisonLeo Trinn  
>Emily BrowningChantelle Moreno  
>with<br>Justin Brandt/Will Scanton  
>and<br>Jimmy Bennet/Louis Hobbs

SPECIAL GUEST STARRING  
>Roger JacksonGhostface (voice)  
>Dane FarwellGhostface (stunts)  
>Ellen WongStephie Chan  
>Josh HutchersonPrichard Tin  
>Sarah Michelle GellarCici Cooper  
>with<br>Kyle Chandler/Chief Dillinger  
>and<br>Alison Brie/Rebecca Walters

ALSO STARRING  
>Mary McDonnelKate Roberts  
>Ian SomerhalderMr. Leeds  
>Marley SheltonDeputy Hicks  
>Willa HollandChelsea Saure  
>with<br>Adam Brody/Deputy Hoss  
>and<br>Anthony Anderson/Deputy Perkins

STARRING  
>David ArquetteSheriff Dwight 'Dewey' Riley  
>Neve CampbellSidney Prescott  
>Courtney CoxGale Weathers-Riley  
>Nico TortorellaTrevor Sheldon  
>Aimee TeegardenJenny Randall  
>Brittany RobertsonMarnie Cooper  
>Brandon SmithRoy Popper  
>Hayden PanettiereKirbiline 'Kirby' Reed  
>Erik KnudsonRobbie Mercer  
>Marielle JaffeOlivia Morris  
>Ariana GrandeNiley Krinkey  
>with<br>Rory Culkin/Charlie Walker  
>and<br>Emma Roberts/Jill Roberts

"Crazy" by Kidney Thieves then comes on for the rolling credits. [youtube. com/watch?v=ZHFKJ9tDb1I]

* * *

><p><strong>BASED ON EVENTS AND CHARACTERS CREATED BY<strong>  
><strong>Kevin Williamson<strong>

**PRE-WRITTEN DIALOGUE BY**  
><strong>Kevin Williamson<strong>

**WRITTEN BY**  
><strong>BillyBobD<strong>

**The story isn't finished yet! Be sure to read Scream 5: Ghostface Radio and Scream 6: Ghostface Society to get the conclusion of the entire saga! Please REVIEW and if you've already read it, give it another read and review! Thanks!  
><strong>

fanfiction. net/s/6930490/1/SCREAM_5_GHOSTFACE_RADIO  
>fanfiction. nets/6964264/1/SCREAM_6_GHOSTFACE_SOCIETY

* * *

><p>Don't forget to send in your questions for the <strong>FINAL Q&amp;A!<strong>

And if you haven't already, join the **"Scream Fanfiction"** Facebook page for discussions on the Scream films! Updates on various fanfictions! Promote your own fanfic! Learn of new Scream stories almost on a daily basis! Communicate with your colleagues, your favorite authors and your fans!  
>facebook. compages/Scream-Fanfiction/189516767780943

Chat about this story on the ultimate Scream fan site! Scream-Trilogy! Just head on over to the fanfiction section and the works-in-progress thread. It needs some love over there...  
><strong>scream-trilogy. net<strong>

And put this story on your **story alerts and your favorites**! Don't forget to put me as a** favorite author or on your author alerts**!

* * *

><p><em><strong>Be sure to check back.<strong>_ _More_ articles and factoids on Woodsboro High to come, as well as updates about what I'll be working on next!

It's all over now. So listen to this and wallow in sadness. Johann Johannsson's "The Sun's Gone Dim and the Sky's Turned Black." [youtube. com/watch?v=Vz06J3oOTOU]

Thank you for reading. Good morning, good afternoon, good evening and goodnight.


	46. Q&A With the Author: Final

After a 2 month break, here is the final Q&A. Or, more or less, the final one. Who knows, you guys might have more questions after this. But for now, this is final... sort of. Enjoy :)

**Can I make another season/spin-off/sequel using your characters/settings/plots?**

This one's actually been asked a lot in many different forms (as you can tell from the slash marks). However, I cannot grant use of the original characters, settings, plots or etc. from the stories. As you already know, everything from the actual movies (Scream 1 - 4) are not mine and you can do what you wish with those. The likes of Niley Krinkey, Roy Popper and etc. belong to me. So why can't you use them? Well, because I plan on using these characters (and their likenesses) in the future in real productions I plan to produce. The original settings shouldn't be used, as I see no reason why anyone would want that. And for using the same plot or continuing one... I simply believe everyone should create their own stories (well... this is fanfiction... but you know what I mean) and ripping off work is unacceptable. So sorry, I can not allow use. The only exception I've allowed thus far was for protector91 and his Stab series, as the characters make non-canon appearances and they simply just watch the story he created. There have already been instances of these stories (with weird changes) popping up - - please do not do this either. Using the same story with minor changes to make it your own is still stealing. Do not alter the events, characters or settings of the story to make it appear different either. May I also remind you that the authors that use this website have a copyright on the works they've created, so it is technically ILLEGAL to take their work and pose it as your own or someone else's. I'm glad there are fans of this story, but without my consent, don't post or use this story elsewhere. Thank yoooou!

**How did you get the idea for the "bridge scene" in the series finale?**

I knew a few things needed to happen, and I knew I wanted a bit of action. I knew that Roy needed to escape. I knew that Louis and his gang needed to think Roy was Ghostface and therefore wanted to go after him (which sets up Louis' hatred for Louis in "Ghostface Radio"). And I knew that I needed Dillinger to chase after Roy. And ofcourse, I knew that none of this could be easily done for any of them and it seemed like the best place that's out in the open and seems like there's no escape from, for any of those people, would be a bridge. I had my doubts about whether or not this fit into the Scream world, but I said "fuck it" and put it in anyway. It just seemed like the logical route for the story to go.

**Why don't Roy, Trevor, Charlie or Olivia have in between chapters?**

That'd be way too many! Had to pick and choose what I thought people most wanted to see.

**Was it hard killing off Olivia after you gave her a sympathetic angle?**

Not really. I imagined it would but when the time came, all I could think was, "this is such a brutal death." The thoughts of her character and her arcs and what-not just didn't come to me, and maybe that's because she didn't have many. I spent 2 and 3/4 of the series making her a total bitch and then for the last 1/4 tried to squeeze in some reasoning for that. I guess that 1/4 wasn't enough for me to think twice about it.

**Why doesn't Marnie attend Woodsboro High in the alternate universe?**

Marnie only attended Woodsboro because of the Penciatti Hotel massacre. It was never fully explained, as it was something that didn't get the attention it needed during the time the episodes were in summary form. But no Cinema Club = Penciatti Hotel massacre = Marnie stays at Breckin.

**Will there be a fourth season?**

Sorry, no. You can always read my Scream 5 and Scream 6. That's 2 movies that are 200+ pages long each, so that's plenty enough of a continuation!

**What happened to Dewey and Gale? They were barely in the finale!**

When watching Scream 4, it felt like their story was told well enough. Nothing more needed to be added to it. Only bit I wanted to throw in there was the divorce angle, which sets things up for Scream 5.

**If you were to do a season four, what would it have been?**

I never fully outlined it and some of the ideas float around in Part 4 of the finale but I imagine it would've started right after Stephie killed Jill. It would've left a few cliffhangers, such as will Stephie be charged? Did Kirby survive (lame, since we know she's in my Scream 5)? What happens when Louis and Roy finally come head to head again? What would the funerals been like? But all this is in the finale. The stuff that ISN'T would've been making Shirley and Richie main characters (not part of the friend group, but essential to the story). After having pretty much everyone dead, new characters would need to pop up. Harold, who you see flirting with Olivia momentarily a few episodes before the finale, would also become a main character since he's apart of the friend group in 'Radio.' Same with Joseph, they'd be taking him in to create their new group. And Louis would be the rivalry character. We'd also get a good look at the Survivors Group characters, such as Kirby making friends with Mariah, Esline, Carrie and others. The beginning of the season would've had Sid go back to Washington. Dewey and Gale finally deciding on their divorce with Gale leaving mid-season to finish up her book. Mr. Leeds' obsession with Kirby could be developed a bit as well. There's a few different ways for season four to go and I think it could be interesting but stopping with the third season seems like a good point, with everyone dead.

**Who was the little girl in the window looking down at Jill at Kirby's house?**

That was Jill's daughter, Niley, somehow bleeding over from the Alt Univ world and into reality.

**Does Jill not want to kill Niley because of her Alt Univ daughter?**

Exactly. She can connect the feelings from the parallel universe of Niley to her own daughter that she named after her. She'd kill her cousin and even her mother, but killing what seems like your own child is another thing. With Niley dead in the parallel universe and Jill giving memorial to her with her own flesh and blood, it really brings up strong feelings towards killing Niley in reality. She just can't do it. You could say it's a similar reason for why she won't kill Roy either.

**So Niley thinking Sidney was the killer and trying to get away from her down in the basement was that sound of the door closing when Sid looks in the basement before being attacked by Charlie?**

... YES. lol

**Why does Dillinger let Roy go?**

It's actually very self explanitory but only if you remember Dillinger's story in the puzzle piece a few episodes earlier. Dillinger explains to Roy and Nick that his wife was killed while he was at work. He said he chose his job over love, which Roy throws back at him in the final and says he doesn't want to end up like him. Dillinger relates, letting Roy go so he can save his friends (the ones he loves), making Dillinger choose love over his job, unlike what he did years prior.

**What are you implying by Roy and Kirby's conversation of "Fate is fate" and Jill and Charlie's conversation "everything is perfect."**

I'd like to leave this up to interpretation. It means a lot to different people and could be seen in so many ways. If you'd like to know my interpretation, you can read it down below but beware, the answer has major spoilers for my Scream 5 and 6.

**Where are Solai and Topher during the reunion?**

They're around, just not too important to show. Robbie never met Solai and Topher never met Kirby and it was established in the graduation scene.

**Does Trevor feel connected to Chelsea after she's dead because he's with her in the alternate universe?**

Exactly.

**What was your favorite episode to write?**

Boyfriend Number 1, Back to Black, Blue Moon, some parts of the series finale and Monster are easily at the top of the list.

**Who was your favorite character to write other than the original characters?**

Kirby was always fun. Jill was great once she kicked into psycho mode. Robbie had his moments.

**Why didn't Sidney shoot Jill in the head? **

I don't know, I didn't write that part. lmao

**Why does Sidney want Jill ashes and what does she plan to do with them?**

There's nobody else in her family to have them. She'll keep the ashes, I imagine, or bury it. Point is, she has them and it says a lot about her character.

**If Kate is Maureen Prescott's sister, wouldn't Roberts be her maiden name?**

This is actually explained in season 2 (I think). Kate and Aaron are married and Aaron's last name is Roberts. She keeps his last name, even after his death (as does Jill). Maureen and Kate's maiden names were never revealed, although some speculate that it's Roberts. However, a child born out of wed lock is usually given the father's last name. Even after a divorce, a child still keeps the father's name, unless Kate was a single mother all of Jill's life. So it would be out of the ordinary (although not a stretch) for Jill to have the same last name as her mother without a father figure in the picture (hence why I added the Aaron character).

_********STOP! SPOILERS AHEAD!**_

_**SCREAM 5: GHOSTFACE RADIO & SCREAM 6: GHOSTFACE SOCIETY SPOILER QUESTIONS & ANSWERS!**_

_**Do NOT read unless you've read both "Ghostface Radio" and "Ghostface Society."**_

_**Again, SPOILERS. MAJOR SPOILERS. You've been WARNED.*********_

**Did you kill Jill for good in the season finale to explain her absence in Scream 5 and 6?**

In my opinion, Jill was already dead but people have weird theories claiming she was alive since she was shot in the chest in Scream 4. I figured, let's shoot her in the head and keep her dead so people don't expect her to stick around in my stories if they're new to them. Jill is dead... very dead.

**Does Niley die in the parallel universe in 2016 because that's when she dies in reality?**

Yes, Niley was one of the unfortunate ones to have their "fate be fate." Destined to die whether it be reality or in the alternate universe.

**Why isn't Roy there when Kirby spreads Niley's ashes in Scream 6? Aren't they best friends?**

During the writing of Scream 6, I didn't plan on their friendship being so great with each other. So at the time, it didn't seem that big of an issue for Roy not to be there. But reading the show and then the movies, it's a bit weird for him NOT to be there. However, I've come up with a decent excuse: he's in the hospital still recooperating after his injuries in Scream 6. Good enough, yeah? No? Well, I tried!

**Does Mr. Leeds see hallucinations of Kirby during Scream 5 like he did of Chelsea in season 3 and that's why he wants to kill her?**

Partly, yes. I wanted to give Mr. Leeds more of an angle in Scream 5, since I wasn't fully satisfied with it. Now knowing he has some mental issues, it kinda helps his motive of him being obsessed with her.


End file.
